JPH0437438B2 - - Google Patents

Description

[Detailed Description of the Invention] [Field of Industrial Application] The present invention relates to an automatic performance device, and more specifically, to an automatic performance device, and more specifically, an automatic performance device that has an autorhythm device and records or reproduces performance information in response to key operations on a keyboard. This invention relates to an automatic performance device.

[Summary of the invention]

In the automatic performance device of the above-mentioned type, the present invention allows the generation of rhythm sounds to be started with a delay of, for example, one measure from the start of recording or playback. This allows the user to start playing songs (starting with "Yaku") without feeling unnatural.

[Conventional technology]

2. Description of the Related Art Conventionally, automatic performance devices are known that are equipped with an autorhythm device and record or reproduce performance information in response to key operations on a keyboard. With such an automatic performance device, when you turn on the start switch while in record mode, rhythm sound generation begins at the same time as recording begins, and when you turn on playback mode and turn on the start switch, playback begins. At the same time, rhythm sound generation begins. Furthermore, instead of turning on the start switch in the recording mode, if you turn on the synchronized start switch and then start playing the keyboard, recording and rhythm sound generation will start simultaneously in synchronization with the start of the keyboard playing.

[Problem that the invention seeks to solve]

According to the above-mentioned conventional technology, in recording mode, the rhythm always starts when a key is pressed, so for a weak song that you want to start playing without rhythm accompaniment, it gives an unnatural feeling musically when the performance starts. There was an inconvenience. Furthermore, in the playback mode as well, the generation of rhythm sounds starts at the same time as playback starts, resulting in a similar problem.

[Means for solving problems]

The automatic performance device according to the present invention includes: (a) a keyboard; (b) musical tone generating means for generating a musical tone signal based on key operation information from the keyboard; and (c) a recording start signal or a recording start signal for instructing the start of recording. (d) start instruction means for selectively generating a playback start signal instructing the start of playback; (d) start recording of performance information based on key operations on the keyboard in response to a recording start signal from the start instruction means; (e) recording/reproducing means capable of generating automatic rhythm sounds and generating duct sounds at predetermined time intervals; (f) a control means for controlling the autorhythm device, the control means for controlling the autorhythm device, wherein the automatic The automatic rhythm sound starts generating the rhythm sound, and starts generating the automatic rhythm sound after a predetermined period has elapsed without generating the tact sound from the start of reproduction by the recording/reproducing means.

[Operation] According to the configuration of the present invention, when the start instruction means generates a recording instruction signal, recording of performance information based on key operations is started, and a tact sound is generated after a certain period of time has elapsed since the start of recording. Automatic rhythm sound generation begins. In this way, rhythm sounds are not generated for a certain period of time, so even if you play a song with a low pitch on the keyboard, it will not feel unnatural, and the tempo can be recognized based on the tact sound and played at the correct tempo. Recording can be done.

Further, when a reproduction instruction signal is generated from the start instruction means, generation of the automatic rhythm sound is started after a certain period of time has elapsed without generation of a tact sound from the start of reproduction. In this way, neither the tact sound nor the automatic rhythm sound is generated for a certain period of time, so
There is no longer an unnatural feeling when the playback of a song with a weak beginning starts.

〔Example〕

Circuit Configuration (Figure 1) Figure 1 shows the circuit configuration of an automatic performance device according to an embodiment of the present invention.This automatic performance device generates keyboard playing sounds and records keyboard performances with the help of a microcomputer. Alternatively, playback, automatic rhythm sound generation, etc. are controlled.

The bus 10 includes a key switch circuit 12, a tone selection switch circuit 14, and a rhythm control switch circuit 1.
6. Central processing unit (CPU) 18, program memory 20, working memory 22, rhythm data memory 24, performance data memory 26, performance record/
A playback control switch circuit 28, an external recording interface circuit 30, a tone forming circuit 32, a tempo oscillator (OSC) 34, a rhythm sound source circuit 36, etc. are connected.

The key switch circuit 12 includes a keyboard having a large number of keys and a large number of key switches each driven by the large number of keys, and acquires key operation information by sequentially and repeatedly scanning these key switches. It has become detectable.

The timbre selection switch circuit 14 includes timbre selection switches for appropriately selecting musical instrument tones such as flute, violin, organ, etc., and detects operation information of each timbre selection switch by scanning these timbre selection switches. I'm getting used to it.

The rhythm control switch circuit 16 includes a rhythm type selection switch for appropriately selecting a rhythm type such as march, waltz, swing, etc., a fill-in switch for selecting a fill-in rhythm, and a start switch for controlling a rhythm start. By scanning these switches, operation information for each switch can be detected.

The CPU 18 executes various processes such as generating keyboard performance sounds, controlling recording/playback of keyboard performances, and generating autorhythm sounds according to programs stored in a program memory 20 consisting of a ROM (read-only memory). The details of these processes will be described later with reference to FIGS. 5 to 9.

The working memory 22 is RAM (random
access memory), and consists of CPU18
registers used for various processing by
It includes parts that function as flags, counters, etc. Details of these various functional parts will be described later.

The rhythm data memory 24 is composed of a ROM, which stores tact pattern data for generating tact sounds, and also stores rhythm pattern data regarding fill-in rhythms and normal rhythms for each rhythm type. ing. The tact pattern data instructs a specific percussion instrument sound source in the rhythm sound source circuit 36 to produce sound at each sound timing corresponding to a quarter note, and the rhythm pattern data instructs a rhythm sound source at each sound timing corresponding to a 32nd note. This indicates whether or not a large number of percussion instrument sound sources in the sound source circuit 36 produce sound.

The performance data memory 26 is comprised of a RAM, and in this embodiment is used to store or reproduce performance information corresponding to key operations on the keyboard. The storage data format in the performance data memory 26 will be described later with reference to FIG.

The performance recording/playback control switch circuit 28 includes a record switch, a playback switch, a save switch, and a load switch, and by scanning these switches, operation information for each switch can be detected.

The external recording interface circuit 30 is provided to save performance information stored in the performance data memory 26 to external recording means and to load performance information from the external recording means to the performance data memory 26. be. Here, the external recording means includes a memory pack 38 which has a built-in RAM and is backed up by a battery, and a cassette tape device 40. It is designed to be used for save or load processing in priority to the cassette tape device 40. That is, when the save switch is turned on, the performance information in the performance data memory 26 will be saved in the memory pack 38 if it is installed, and if the memory pack 38 is not installed, it will automatically switch to the cassette tape installation 40 and play on it. The information will be saved. Such automatic switching operation is performed in the same way when the load switch is turned on during loading processing.

The musical tone forming circuit 32 forms a musical tone signal according to key operation information from the keyboard or data read from the performance data memory 26, and the formed musical tone signal is supplied to the speaker 44 via the output amplifier 42. converted into sound.

The tempo OSC 34 generates a tempo clock signal at a period corresponding to a 32nd note, and this tempo clock signal is used to start an interrupt routine for generating rhythm sounds as described below.

The rhythm sound source circuit 36 includes a large number of percussion instrument sound sources such as a bass drum, snare drum, cymbal, mascara, etc., and generates a tact sound signal by driving an appropriate percussion instrument sound source according to the data read from the rhythm data memory 24. Or, it is designed to generate a rhythmic sound signal. The tact sound signal or rhythm sound signal is sent to the speaker 44 via the output amplifier 42.
and converted into sound.

The automatic performance device described above can operate in the recording mode when the record switch is turned on, and can operate in the reproduction mode when the playback switch is turned on.

Operation in recording mode (Figure 2) Figures A and B are for explaining the operation in recording mode, and show the case where A turns on the start switch, and when B turns on the fill-in switch or This shows a case where an any key-on signal is generated in response to the start of a key press on the keyboard.

First, in case A, when the recording switch is turned on at time t1, it enters a synchronization wait state,
A recording mode display lamp (not shown) lights up. Next, when the start switch is turned on at time t2, the recording state is entered, and when a performance is started on the keyboard, the performance information is written into the performance data memory 26. Also, from the speaker 44,
At the same time as the keyboard performance sound is produced, a tact sound is produced at the timing of a quarter note during a period equivalent to one measure from time t2. During this tact sound generation period and during the synchronization waiting period described above, a beat lamp (not shown) lights up every beat. Then, when the tact sound generation period ends, a normal rhythm (for example, a normal waltz rhythm if waltz is selected) starts, and the speaker 44 also starts producing rhythm sounds. During the normal rhythm performance period, the beat lamp lights up at the beginning of each measure.

On the other hand, in case B, when the recording switch is turned on at time t1, the synchronization wait state is entered and the recording mode display lamp and the beat lamp are turned on, as in case A. And time t2
Assuming that the file-in switch is turned on,
A recording state is entered, and a fill-in rhythm (for example, a waltz fill-in rhythm if waltz is selected) is played for one measure, and then a normal rhythm is played. During the performance period of the fill-in rhythm and the normal rhythm, the beat lamp lights up at the beginning of each measure.

Also, assuming that an any key-on signal is generated at time t2 (a key begins to be pressed on the keyboard), the recording mode is entered and the beat lamp lights up at the beginning of each measure, just as with the fill-in switch. , the normal rhythm is played from time t2. That is, B
Case A is different from case A in that there is no tact sounding period and the fill-in rhythm or normal rhythm starts from t2.

Note that in either case A or B, only the keyboard performance is recorded, and the tact sound or rhythm performance is not recorded. Furthermore, when the recording switch is turned off, the recording state is canceled and the rhythm is stopped.

Operation in playback mode (Figure 3) Figures A and B are for explaining the operation in playback mode. A shows data recorded by turning on the start switch, and B shows data recorded by turning on the fill-in switch. This shows the case of data recorded based on an operation or any key-on signal.

First, in case A, when the playback switch is turned on at time t1, the synchronization wait state is entered, and a playback mode display lamp (not shown) lights up. Next, when the start switch is turned on at time t2, the playback state is entered and the performance data memory 26
The keyboard performance sound is reproduced in accordance with the read data from. In this case, neither the tact sound nor the rhythm sound is generated during a period equivalent to one measure from time t2, and the second
In the case of FIG. A, if the keyboard performance sound is generated during the tact sound generation period, only the keyboard player is reproduced. During this no-rhythm period and during the synchronization wait period described above, the beat lamp lights up every beat.
Then, when a no-rhythm period corresponding to one measure has elapsed from time t2, the normal rhythm performance is started, and the beat lamp is lit at the beginning of each measure during the normal rhythm performance period.

On the other hand, in case B, when the playback switch is turned on at time t1, the synchronization wait state is entered and the playback mode display lamp and beat lamp are lit, as in case A. Then, if the start switch is turned on at time t2, the playback state will be the same as in case A, but at time
The normal rhythm performance starts from t2, and the time signature lamp lights up at the beginning of each measure during the normal rhythm performance period. That is, case B differs from case A in that there is no period without rhythm, and the normal rhythm starts from time t2.

In either case A or B, when the playback switch is turned off, the playback state is canceled and the rhythm is stopped.

Next, before going into an explanation of the various routines that enable operations in the recording mode and playback mode as described above, the details of the working memory 22 used in the various routines and the storage data format in the performance data memory 26 will be explained. They will be explained in order.

Details of Working Memory 22 The working memory 22 includes portions that function as registers, flags, counters, etc. as listed below.

(1) Rhythm type register RHYSEL This register stores type data representing the rhythm type selected by the rhythm type selection switch.

(2) Rhythm data register RHYREG This is pattern data (takt pattern data or rhythm pattern data) for one sound timing read from the rhythm data memory 24.
is stored, and has bit positions corresponding to the number of percussion instrument sound sources, and for each bit position, "1" indicates that sound will be produced, and "0" indicates that sound will not be produced.

(3) Recording mode flag RECMD This is set to "1" when the recording switch is turned on, and is set to "0" when the switch is turned off.

(4) Recording start event flag RECEVT This is set to "1" when the recording switch changes from off to on.

(5) Record end event flag RECOFFEVT This is set to "1" when the recording switch changes from on to off.

(6) Playback mode flag PLYMD This is set to "1" when the playback switch is turned on, and set to "0" when the switch is turned off.

(7) Reproduction start event flag PRLYEVT This is set to "1" when the reproduction switch changes from off to on.

(8) Playback end event flag PLYOFFEVT This is set to "1" when the playback switch changes from on to off.

(9) Synchronization wait flag SYCWT This is set to “1” in response to the ON operation of the record switch or playback switch.
It remains in the "1" state until the synchronization wait period ends.

(10) Duct flag TACT This flag is set to "1" in response to the ON operation of the recording switch, and if the start switch is turned on after it is set to "1", it will remain "1" until the tact sounding period ends. After setting to "1", if the fill-in switch is turned on or any key-on signal is generated, the signal becomes "0".

(11) Non-rhythm flag NONRHY This flag is set to "1" if there is tact data in the data stored in the performance data memory 26 in the playback mode.

(12) Rhythm run flag RHYRUN This flag is set to "1" in response to turning on the start switch or fill-in switch or generating any key-on signal in recording mode or playback mode.

(13) Run event flag RUNEVT This is the rhythm run flag RHRUN as described above in recording mode or playback mode.
It is set to "1" when an event occurs that causes the value to become "1".

(14) Any key on flag ANYKEY This flag is set to "1" in response to generation of any key on signal.

(15) Fill-in flag FILLIN This flag is set to "1" when the fill-in switch is turned on, and when set, it becomes "0" at the end of the measure.

(16) Start flag STARTSW This flag is set to "1" or "0" depending on whether the start switch is turned on or off.

(17) Bar event flag BEVT This is set to "1" at the break of a bar.

(18) First tempo counter TCNT This counts the tempo clock signal from the tempo OSC 34 (that is, counts the number of interrupts), takes a count value from 0 to 31, and resets when the count value reaches 32. be done.

(19) Second tempo counter OTCNT This is set to the same count value as TCNT every time the count value differs from the first tempo counter TCNT, and takes a count value of 0 to 31.

Memory Data Format (Fig. 4) As shown in Fig. 4A, the performance data memory 26 contains tone data TCD and tact presence/absence data TAC, followed by key-on data KON and KON corresponding to each key operation. Key-off data KOF is stored sequentially. In addition, in such a key-on/off data array, vertical line mark data VLM is stored at the breakpoint between measures, and end mark data EM is stored at the end of the data array.

The tone data TCD is as shown in Figure 4B.
Consists of 2 bytes of data. The first byte is
The MSB (most significant bit) is “1” and this
The bits below the MSB represent an identification code (also a start mark). Furthermore, the MSB of the second byte is "0", and the bits lower than this MSB represent the timbre number corresponding to the timbre name.

The takt presence/absence data TAC consists of 1 byte of data, as shown in Figure 4C, and its MSB
is “1”, the lower 6 bits from this MSB represent the identification code, and the LSB (least significant bit) is “1”.
"0" indicates that there is a takt time, and "0" indicates that there is no takt time.

The key-on data KON consists of 4 bytes of data, as shown in FIG. 4D. The first byte is
The MSB is "1" and the bits lower than this MSB represent an identification code. The second byte is the MSB
is “0”, and the bits lower than this MSB set the key-on timing to the first tempo counter.
Expressed as a TCNT count value. The third byte is
The MSB is "0" and the bits lower than this MSB represent the key code (octave code and note code). The MSB of the 4th byte is “0”
The bits below this MSB represent the sound channel number. By assigning a pronunciation channel number to each key-on data KON, each key-on data KON can be assigned to a pronunciation channel corresponding to the pronunciation channel number and generated.

The key-off data KOF consists of 3 bytes of data, as shown in FIG. 4E. The first bit is
The MSB is "1" and the bits lower than this MSB represent an identification code. The second byte is the MSB
is “0”, and the bits lower than this MSB set the key-off timing to the first tempo counter.
Expressed as a TCNT count value. The third byte is
The MSB is "0", and the bits lower than this MSB represent the sound generation channel number. By assigning a sound generation channel number to each key-off data KOF, it is possible to erase the sound being generated for each sound generation channel.

As shown in FIG. 4F, the vertical line mark data VLM consists of 1 byte of data, the MSB of which is "1", and the bits lower than this MSB represent an identification code.

As shown in FIG. 4G, the end mark data EM consists of 1 byte of data, the MSB of which is "1", and the bits lower than this MSB represent an identification code.

Main Routine (FIG. 5) Next, the main routine will be explained with reference to FIG.

First, in step 50, various switches such as those described above are scanned and operation information is acquired. and,
Proceeding to step 52, various registers, flags, etc. as described above are set in accordance with the states (on or off) or changes (on events or off events) of various switches.

Next, the process moves to step 54, where control processing for generating keyboard performance sounds is performed. In other words, the tone forming circuit 3 outputs tone data corresponding to the operation of the tone selection switch.
2 to set the timbre, and also supply key-on data or key-off data corresponding to key operations on the keyboard to a musical tone forming circuit 32 to control sound generation channel assignment, etc., thereby controlling the generation of keyboard performance sounds. Then, proceed to step 56.

In step 56, the recording start event flag is set.
RECEVT or playback start event flag PLYEVT
It is determined whether there is a recording start event or a playback start event by checking whether "1" is present. If the result of this determination is that there is an event (Y), the process moves to step 58.

In step 58, it is determined whether the recording mode is selected by checking whether the recording mode flag RECMD is "1".
As a result of this determination, if it is the recording mode (Y), the process moves to step 60 and the tone color data (start data) TCD is stored in the performance data memory 26.

In the judgment of step 58, it is not recording mode.
If (N), it is the playback mode, so the process moves to step 62, and the tone data is stored from the performance data memory 26.
The TCD is read out and supplied to the tone forming circuit 32 to set the tone.

If you have completed step 60 or 62, proceed to step 64.
Then, the tempo OSC 34 is controlled to allow interrupts. Also, while resetting the first and second tempo counters TCNT and OTCNT,
Reset the measure event flag BEVT. These processes are necessary as initial settings at the start of recording or playback. After this, the process moves to step 66. In addition, in the judgment at step 56,
If there is no event (N), the process moves to step 66 without going through steps 58-64.

In step 66, the recording end event flag is
RECOFFEVT or playback end event flag
By checking whether PLYOFFEVT is "1", it is determined whether there is a recording end event or a playback end event. If the result of this determination is that there is an event (Y), the process moves to step 68.

In step 68, it is determined whether it is a recording end event by checking whether RECOFFEVT is "1". If the result of this judgment is affirmative (Y), recording has ended, and the process moves to step 70, where the performance data memory 26
Store end mark data EM in . Then, proceed to step 72. Note that if the judgment in step 68 is that it is not a recording end event (N), it is a playback end event, so step 70 can be skipped.
Move to 72.

In step 72, the tempo OCS 34 is controlled to prohibit interrupts. This is a necessary process because recording or playback has ended. Thereafter, the process moves to step 74. Incidentally, in the determination at step 66, if there is no event of either the end of recording or the end of reproduction (N), the process proceeds to step 74 without passing through steps 68-72.

Step 74 is an autoplay subroutine for executing various processing related to recording or reproduction, which will be described in detail later with reference to FIG. 7. When the process of step 74 is completed, the process returns to step 50 and the above process is repeated.

Interrupt Routine (FIG. 6) Next, an interrupt routine for generating rhythm sounds will be explained with reference to FIG.

This interrupt routine is started each time the tempo OCS 34 generates a tempo clock signal (ie, at every 32nd note timing), as described above. First, in step 80, pattern data for one sound generation timing, which has already been read out to the rhythm data register RHYREG, is output to the rhythm sound source circuit 36. As a result, if the pattern data instructs one or more percussion instrument sound sources to produce sound, the instructed percussion instrument sound source generates a percussion instrument sound signal, and the speaker 44 generates a percussion instrument sound. In addition, the rhythm data register
Pattern data reading to RHYREG will be described later with reference to FIG.

Thereafter, in step 82, the count value of the first tempo counter TCNT is incremented by 1, and then the process returns to the main routine of FIG.

Autoplay Subroutine (FIG. 7) Next, the autoplay subroutine will be explained with reference to FIG.

First, in step 90, it is determined whether a playback start event has occurred by checking whether PLYEVT is "1". If the result of this determination is negative (N), the process moves to step 92, and it is determined whether there is a recording start event by checking whether RECEVT is "1". As a result of this determination, if there is a recording start event (Y), the process moves to step 94.

In step 94, the synchronization wait flag SYCWT is set.
is set to “1” and the tact flag is set to “1”.
Set TACT to “1”. Then, in step 96, RECEVT is set to "0", and then the process moves to step 98. Note that if the determination result in step 92 is negative (N), the process moves to step 98 without going through steps 94 and 96.

In step 98, it is determined whether the synchronization wait state is established by checking whether SYCWT is "1". When step 94 is passed as described above, it is determined that the synchronization wait state is reached (Y), so the process moves to step 100.
A start control subroutine as shown in FIG. 8 is executed.

In the subroutine of FIG. 8, step 102
Then, any key on flag ANYKEY is “1”
By checking this, it is determined whether a key has started to be pressed on the keyboard. If this judgment result is negative (N), the step
Move to 104, fill flag FILLIN is “1”
Determine whether the switch is filled in by checking whether the switch is turned on or not. If the result of this determination is negative (N), the process moves to step 106, and it is determined whether the start switch is on by checking whether the start flag STARTSW is "1". If the result of this determination is negative (N), the process returns to the subroutine shown in FIG. 7, and step 108 is executed.

At step 108, the rhythm run flag
Determine whether RHYRUN is “1”. As mentioned above, when all the determination results in step 100 are negative, it is determined that RHYRUN is not "1" (N), and the process returns to the main routine of FIG.

If the start switch is turned on while the synchronization wait state continues after the recording start event occurs as described above (this is shown in Figure 2A).
), set STARTSW to “1”.
is set. For this reason, the steps in Figure 8
The judgment result at 106 is positive (Y), and the step
Execute steps 110, 112, and 114 in sequence.

In step 110, RHYRUN is set to "1", in step 112, RUNEVT (run event flag) is set to "1", and in step 114
Now, set SYCWT to "0". and,
Return to the subroutine in Figure 7 and proceed to the step
At step 108, it is determined whether RHYRUN is “1”. As a result, it is determined that it is "1" (Y), so the process moves to step 116.

Step 116 is a subroutine for reading rhythm data, and is for reading pattern data etc. from the rhythm data memory 24 into the rhythm data register RHYREG to enable generation of rhythm sounds by the above-mentioned interrupt. Figure 9 will be described later. When the process of step 116 is completed, the process moves to step 118.

In step 118, it is determined whether the recording mode is selected by checking whether RECMD is "1". In the current example,
It is determined that you are in recording mode (Y), so step
Move to 120 and determine whether RUNEVT is "1".
Since RUNEVT was previously set to "1" in step 112 (FIG. 8), the determination result is affirmative (Y) and the process moves to step 112.

In step 122, it is determined whether TACT is "1". Since TACT was previously set to "1" in step 94, the determination result is affirmative (Y) and the process moves to step 124. In this step 124, as shown in FIG.
is set to "1"). Then, in step 126, RUNEVT is set to "0", and then the process moves to step 128.

In step 128, key-on data KON or key-off data KOF is stored in the performance data memory 26 in accordance with key operations on the keyboard, and then the fifth key-off data KOF is stored in the performance data memory 26.
Return to the main routine shown in the figure.

After this, when the subroutine in Figure 7 is entered again,
The results of steps 90, 92, and 98 are all negative.
(N), and the determination result at step 108 is affirmative (Y). Then, the process moves to step 118 via step 116. The judgment result at step 118 is positive (Y) as before, so the process moves to step 120.
Determine whether RUNEVT is “1”. RUNEVT is
Since it was previously determined to be "0" in step 126, the determination result is negative (Y) and the process moves to step 128.

At step 128, as before, key-on data KON or key-off data KOF corresponding to the key operation on the keyboard is stored, and the process returns to the main routine shown in FIG.

After this, the same process as described above is repeated every time the subroutine shown in FIG. Performance data such as data KOF and vertical line mark data LVM are stored.

By the way, if you turn on the fill-in switch or generate any key-on signal instead of turning on the start switch (this corresponds to the case in Figure 2 B), the fill-in flag FILLIN
Or the any key on flag ANYKEY is set to "1". For this reason, step 102 in FIG.
Or the judgment result of 104 becomes positive (Y) and the step
Move to 130.

In step 130, TACT is set to "0". This is different from the case of the start switch described above. After this, steps 110, 112,
114 are executed sequentially, so the steps in Figure 7
Move to 108.

Steps 108, 116, 118 and 120 are performed in the same manner as for the start switch described above. Then, in step 122, when it is determined whether TACT is "1", since TACT was previously set to "0" in step 130, the determination result is negative (N), and the process moves to step 132.

In step 132, as shown in FIG. 4A, next to the tone color data TCD, takt-free data (takt presence/no-takt data TAC with LSB set to "0") is stored. Then, by step 126
After setting RUNEVT to "0", execute step 128. Note that, each time step 128 is executed, the performance data corresponding to the key operation is stored in the performance data memory 26, as in the case of turning on the start switch described above.

The above-mentioned processing is mainly related to the recording mode, but the processing related to the playback mode is as follows.

In step 90, if it is determined whether PLYEVT is "1", the result of the determination is affirmative (Y), and the process moves to step 140. In this step 140, SYCWT
Set “1” to “1”. Then, in step 142, PLYEVT is set to "0", and then the process moves to step 144.

In step 144, it is determined whether there is data with tact among the data stored in the performance data memory 26. If this judgment result is positive (Y), the step
Move to 146, non-rhythm flag NONRHY is “1”
Set. Then move on to step 98. Note that if the determination result in step 144 is negative (N), the process proceeds to step 98 without passing through step 146.

In step 98, it is determined whether SYCWT is "1". When you go through step 140 as above,
Since it is determined that it is "1" (Y), the process moves to step 100.

At step 100, steps 102, 104, and 106 (FIG. 8) are performed in the same manner as described above regarding the recording mode.
are executed sequentially, but all judgment results are negative.
If (N), the process returns to the subroutine shown in FIG. 7 and executes step 10.

In step 108, it is determined whether RHYRUN is "1", but if all the determination results in step 100 are negative as described above,
Since RHYRUN is "0", the process returns to the main routine shown in FIG.

After the playback start event occurs as described above,
If the start switch is turned on while the synchronization wait state continues, STARTSW is set to “1”.
is set. Therefore, in the same manner as described above regarding the recording mode, the determination result at step 106 in FIG. 8 becomes affirmative (Y), and steps 110, 112,
114 in sequence. As a result, both RHYRUN and RUNEVT become “1” and SWCWT
becomes “0” (synchronization wait state released).

Next, in step 108 of FIG.
When it is determined whether RHYRUN is "1", it is "1", so the process moves to step 116. In this step 116, pattern data and the like are read out from the rhythm data memory 24 to RHYREG to enable generation of rhythm sounds by the above-mentioned interrupt, which will be described in detail later with reference to FIG. After this, the process moves to step 118.

In step 118, it is determined whether RECMD is "1". In the present example, since the mode is playback mode, the determination result is negative (N) and the process moves to step 148.

In step 148, the playback mode flag PLYMD is set.
is “1”. Since this determination result is positive (Y), the process moves to step 150.

In step 150, performance data is read from the performance data memory 26 and supplied to the musical tone forming circuit 32 to control musical tone generation. As a result, reproduction of the keyboard performance is started. After completing step 150, the fifth
Return to the main routine shown in the figure.

After this, when the subroutine in Figure 7 is entered again,
The results of steps 90, 92, and 98 are all negative.
(N), and the determination result at step 108 is affirmative (Y). Then, when the process moves to step 118 via step 116, the result of this determination is negative (N) as before, so the process moves to step 148.

At step 148, it is determined that the playback mode is in effect (Y) as before, so the process moves to step 150. In step 150, as in the previous step, performance data is read from the performance data memory 26 and supplied to the musical tone forming circuit 32 to control musical tone generation. Then, the process returns to the main routine shown in FIG.

Thereafter, the same processing as described above is repeated each time the subroutine shown in FIG. 7 is entered, and the keyboard performance reproduction proceeds based on the data stored in the performance data memory 26.

Note that if the recording switch is turned off after recording has started, or if the playback switch is turned off after playback has started, interrupts are prohibited at step 72 in FIG. 5, so rhythm sound generation stops, and step 118 in FIG. Since the determination results of 148 and 148 are both negative (N), recording or reproduction is stopped.

Subroutine for reading rhythm data (FIG. 9) Next, the subroutine for reading rhythm data will be explained with reference to FIG.

First, in step 160, it is determined whether the count values of the first tempo counter TCNT and the second tempo counter OTCNT are equal. When the interrupt routine shown in Figure 6 is entered (when an interrupt occurs), the TCNT count value increases by 1.
Since it is 1 greater than the count value of OTCNT, the determination at step 160 is, in other words, a determination of whether the timing is other than immediately after the interrupt.
As a result of this determination, if the timing is other than immediately after the interrupt (Y), the process returns to the subroutine of FIG. 7 without performing the processing described later.

In contrast, the judgment result in step 160 is negative.
If (N), the timing is immediately after the interrupt, so the process moves to step 162. This step 162
Now, it is determined whether the count value of TCNT is larger than that of OTCNT. The count value of TCNT is
It changes from 31 to 0 at the end of each measure, and is smaller than the OTCNT count value of 31, so the judgment in step 162 is:
In other words, it is determined whether the timing is other than the end of a measure. As a result of this determination, if the timing is other than the end of the measure (Y), the process moves to step 164 and the measure event flag BEVT is set to "0".

Next, proceeding to step 166, the count value of TCNT is set to OTCNT. As a result, OTCNT
The count value of will be equal to that of TCNT. After this, the process moves to step 168.

In step 168, it is determined whether TACT is "1". Here, TACT is determined to be "1" (Y) when the start switch is turned on in the recording mode (corresponding to FIG. 2A). Move to.

In step 170, tact pattern data for one tone generation timing is read out from the rhythm data memory 24 based on the count value of TCNT.
Transfer to RHYREV. If the tact pattern data at this time instructs a specific percussion instrument sound source to produce sound, a tact sound is generated from the speaker 44 by processing the next interrupt. step
When the process of 170 is completed, the process returns to the subroutine shown in FIG. By executing step 170 each time the subroutine shown in FIG. 9 is entered, it is possible to generate the tact sound at each quarter note timing as described above.

If the determination result in step 168 is negative (N), the process moves to step 172. In this step 172, it is determined whether NORHY is "1". here,
NONRHY is determined to be “1” (Y) because
This is the case when data with tact is detected from the stored data during the reproduction mode and the start switch is turned on (corresponding to FIG. 3A). If this is determined, the process moves to step 174.

In step 174, data with all bits “0”
Transfer to RHYREG. If all bits of RHYREG are set to "0" in this way, no rhythm sound will be generated when the next interrupt occurs. step
When the process of 174 is completed, the process returns to the subroutine shown in FIG. Incidentally, by executing step 174 each time the subroutine shown in FIG. 9 is entered, the above-described state without rhythm can be continued.

If the determination result in step 172 is negative (N), the process moves to step 176. In this step 176, it is determined whether the fill flag FILLN is "1". Here, it is determined that FILLIN is "1" (Y) when the fill-in switch is turned on in the recording mode or the playback mode, and when it is determined in this way, the process moves to step 178.

In step 178, the rhythm type register
Based on the rhythm type data in RHYSEL and the count value of TCNT, fill-in rhythm pattern data for one sound generation timing regarding the selected rhythm type is read out from the rhythm data memory 24 and transferred to RHYREG. If the fill-in rhythm pattern data at this time instructs the sound generation of one or more percussion instrument sound sources, the percussion instrument sound of the instructed percussion instrument sound source is generated from the speaker 44 by the next interrupt processing. step
When the process of 178 is completed, the process returns to the subroutine shown in FIG. By executing step 178 each time the subroutine of FIG. 9 is entered, it is possible to perform a fill-in rhythm as described above with respect to FIG. 2B, for example.

If the determination result in step 176 is negative (N), the process moves to step 180. In this step 180, the rhythm type data in RHYSEL and the TCNT
rhythm data memory 24 based on the count value of
The normal rhythm pattern data for one pronunciation timing regarding the selected rhythm type is read from
Transfer to RHYREG. If the normal rhythm pattern data at this time instructs the sound generation of one or more percussion instrument sound sources, the percussion instrument sound of the instructed percussion instrument sound source is generated from the speaker 44 by the next interrupt processing. When the process of step 180 is completed, the process returns to the subroutine shown in FIG.
By executing step 180 each time the subroutine of FIG. 9 is entered, it is possible to perform the normal rhythm as described above with respect to FIG. 2 or 3.

When the judgment result of step 162 is negative (N), it is the end of the measure, so step
Move to 182, bar event flag BEVT is set to “1”
Set. When BEVT is set to "1" after the start of performance recording, vertical line mark data VLM is written in the performance data memory 26 based on this, and is used to know the number of measures.

Next, in step 184, TACT is set to "0" and NONRHY is set to "0". As a result,
In the recording mode, the tact sounding period ends in one bar, and in the playback mode, the no-rhythm period ends in one bar.

Note that in the above embodiment, the keyboard performance sound is produced by one sound system during recording or reproduction, but for example, it is possible to provide a plurality of sound systems corresponding to the left and right sides, as well as a plurality of recording/reproduction systems. One recording/playback system and the right sound system may be used to generate keyboard performance sounds, and the other recording/playback system and left sound system may be used to generate accompaniment sounds such as chords. In this way, a stereo effect can be obtained, and it is also possible to play the keyboard in accordance with the accompaniment sound while reproducing it.

〔Effect of the invention〕

As described above, according to the present invention, the automatic rhythm sound starts to be generated after a certain period of time has elapsed since the tact sound was generated from the start of recording, and the generation of the automatic rhythm sound is started after a certain period of time has elapsed without generating the tact sound from the start of playback. Since the generation of automatic rhythm sounds starts from the start of the recording of a song with a weak start, it is possible to record the performance at the correct tempo in accordance with the tact sound without being bothered by the automatic rhythm sound, and also to record the performance at the correct tempo in accordance with the tact sound. This has the effect of eliminating the unnatural feeling caused by automatic rhythm sounds and tact sounds at the start of playback.

[Brief explanation of drawings]

FIG. 1 is a circuit diagram showing the circuit configuration of an automatic performance device according to an embodiment of the present invention, and FIG. 2A and B
3 is a time chart for explaining the operation in the recording mode, FIGS. 3A and 3B are time charts for explaining the operation in the playback mode, and FIGS. 4 A to G
5 is a flowchart showing the main routine processing, FIG. 6 is a flowchart showing the interrupt routine for generating rhythm sounds, and FIG. 7 is a flowchart showing the automatic processing. FIG. 8 is a flowchart showing a play subroutine, FIG. 8 is a flowchart showing a start control subroutine, and FIG. 9 is a flowchart showing a rhythm data reading subroutine. 10...Bus, 12...Key switch circuit, 14
... Tone selection switch circuit, 16 ... Rhythm control switch circuit, 18 ... Central processing unit, 20 ...
program memory, 22...working memory,
24... Rhythm data memory, 26... Performance data memory, 28... Performance recording/playback control switch circuit, 32... Musical tone forming circuit, 34... Tempo oscillator, 36... Rhythm sound source circuit.

Claims (1)

[Scope of Claims] 1 (a) a keyboard; (b) musical sound generation means for generating a musical sound signal based on key operation information from the keyboard; and (c) a recording start signal or reproduction that instructs the start of recording. (d) start instructing means for selectively generating a playback start signal instructing the start of the playback; (e) recording/reproducing means capable of generating automatic rhythm sounds and generating duct sounds at predetermined time intervals; (f) a control means for controlling the autorhythm device, the control means for controlling the autorhythm device, the control means for controlling the autorhythm device, the control means for controlling the automatic rhythm device after a certain period of time elapses after the tact sound is generated from the start of recording in the recording/reproducing means; An automatic performance device comprising: a device that starts generating a sound, and starts generating the automatic rhythm sound after a certain period of time has elapsed without generating the tact sound from the start of playback by the recording/playback means.