JPH1055183A - Electronic musical instrument - Google Patents

Abstract

PROBLEM TO BE SOLVED: To make fresh and lively sound playable as in natural musical instruments by changing a parameter in accordance with the random numbers generated at every transfer of an envelope waveform to the next section and generating envelope data based on the parameter changed until the next section finishes. SOLUTION: A pitch envelope generator 28 prepares pitch envelope data based on the rate of transfer and the level parameter brought by a data transfer controller from a tone data memory to be held in a rate register 120 and a level register 122. And every time the generated envelope is transferred to the next section, the parameter is changed in accordance with the random numbers generated by a random number generator 140, and concurrently envelope data is generated based on the parameter subjected to this change until the next section finishes. By this, the outline of the envelope greatly changed and accordingly a complicated and fresh sound can be played as in a natural musical instrument.

Description

DETAILED DESCRIPTION OF THE INVENTION

[0001]

[0001] The present invention relates to an electronic musical instrument. For example, the present invention is suitable for use in a synthesizer type electronic musical instrument having a plurality of operation units (operators) for performing waveform generation and frequency modulation.

[0002]

2. Description of the Related Art A synthesizer-type electronic musical instrument having a plurality of operators for performing waveform generation and frequency modulation and a method of this kind are disclosed in U.S. Pat.
4,249,447.

[0003] Initially, the electronic musical instrument shown in US Patent No. 4,554,857 includes a plurality of (eg, six) operators that generate and modulate several waveforms. The operator includes a waveform generator having a built-in sine wave table having sine wave data, a phase generator for generating phase data specifying an address of the sine wave table, and an envelope generator for modulating output data of the sine wave table. Is provided. The phase generator creates phase data based on frequency number data indicating the frequency of the pressed key, and the waveform generator generates a waveform corresponding to the phase data. One of its functions is that the waveform generator has the function of modulating the phase data by using external data and / or the output data of other operators, so that the phase data is complex over time. And thus allow the operator to create rich and dynamic sounds. These operators are arranged in several different ways called algorithms. FIG. 5 of the aforementioned U.S. Pat.
Up to 31 31 algorithms are shown. Depending on the location in the algorithm, the operator acts as either a modulator or a carrier generator, producing a wide range of timbres. The player selects one of these algorithms to obtain a desired tone before playing.

[0004] Second, US Patent No. 4,249,447 shows a method for generating a waveform having a desired chord configuration by the function of an operator having a feedback loop. This desired chord configuration can be obtained by changing the feedback parameter β.

[0005]

The instrument or method described above is effective and powerful. However, there are still problems to be solved as follows.

(A) Even if the phase data generated from each phase generator can be independently modulated, the frequency number data supplied to the phase generator is common to all operators. In other words, the pitch data (ie, frequency number data) supplied to each phase generator is common data. This limits the ability to create complex sounds over a wide range.

(B) Conventionally, the feedback parameter β for the operator is kept constant during the performance, in other words, it must be set before the performance and cannot be changed during the performance. Setting the parameter β or the algorithm of the operator before playing allows a wide range of timbres to be generated. However, this also imposes certain limits on achieving expressive performance. This is because a key touch cannot cause a change in the feedback parameter β, and therefore cannot obtain a dynamic sound that changes dramatically due to a touch change.

(C) A conventional envelope generator generates an envelope defined by a predetermined data level and rate. Therefore, the envelope pattern is kept constant unless the timbre is changed. However, in natural instruments (especially in wind instruments), subtle pitch changes appear for each note, for example, due to exhalation and skillful changes in lip movement. The musical instrument and method of the invention cannot simulate subtle and non-deterministic pitch changes.

(D) A frequency number table is used to correlate the key code and frequency number data determined by the key pitch. One musical instrument of the invention uses a tuning editor that rewrites the contents of a frequency number table in order to assign an arbitrary frequency number to a desired key. Thus, any frequency number can be assigned to the desired key. However, allocating pitch data to each key takes an extremely long time, which is a waste of time.

In the present application, attention is paid particularly to item (c) among the problems of the above-mentioned conventional electronic musical instruments. For example, modulation data of musical tones supplied to an operator is modified according to random numbers. It is an object of the present invention to provide an electronic musical instrument capable of producing a more complex and human sound as generated.

As an electronic musical instrument that changes the musical tone waveform in accordance with a random number, for example, a clock for reading out a stored musical tone waveform described in Japanese Patent Application Laid-Open No. Japanese Patent Application Laid-Open No. 57-9 / 1982 describes a method in which the sound wave shape is shaken by changing the frequency.
Japanese Patent Application Publication No. 7592 "Electronic Musical Instrument" discloses a method in which data is changed by adding a random number to musical sound waveform envelope data generated by calculation. Japanese Patent Application Laid-Open No. 54-87518, "Electronic Musical Instruments"
It describes that a random number is generated at key-on, and a parameter for calculating an envelope is changed according to the random number.

However, in the prior art described in these publications, the waveform data is changed by simply adding the generated random number to the envelope waveform, or the envelope waveform is changed by the random number determined at key-on. The random number cannot give a large or time-varying change to the envelope of the musical sound waveform by random numbers, and generates complex and lively musical tones generated by natural musical instruments. There was a problem that it was not possible.

[0013] Therefore, in view of the above-mentioned problems, the present invention relates to changing a tone signal using a random number.
It is an object of the present invention to provide an electronic musical instrument capable of changing the envelope of a musical sound waveform larger and more complicated than before.

[0014]

In order to solve the above-mentioned problems, the present invention provides a random number generating means for generating a random number, and an envelope waveform calculated by a plurality of parameters for generating an envelope waveform comprising a plurality of portions. The envelope generating means generates envelope data indicating the following: each time the generated envelope waveform shifts to the next part, the parameter is changed according to the random number generated by the random number generating means, and the next part ends. Until the tone data is generated, the envelope data is generated based on the changed parameter, and a tone generating means for generating a tone signal, wherein the tone signal is timed in accordance with the envelope data generated from the envelope generating means. And a device for changing.

According to the above arrangement, when the envelope generating means generates envelope data indicating the envelope waveform by calculation based on a plurality of parameters for generating an envelope waveform composed of a plurality of portions, the envelope waveform is generated according to a random number. Since the parameters for generation are changed, the outline of the envelope can be greatly changed as compared with a case where a random number is simply added to the envelope. In addition, when the envelope waveform is formed from a plurality of portions and the parameter is changed by the random number, the parameter is changed according to the random number generated by the random number generating means each time the generated envelope waveform shifts to the next portion. ,
Until the next part is completed, envelope data is generated based on this changed parameter, so a larger change in the envelope shape than that which determines a random number at key-on is achieved. Obtainable.

[0016]

DESCRIPTION OF THE PREFERRED EMBODIMENTS The present invention will be described with reference to the accompanying drawings. FIG. 1 and FIG. 2 are block diagrams showing a main controller according to an embodiment of the present invention, together with the two figures. In each of FIGS. 1 and 2, circled symbols C100 to C115 indicate connectors connected to the same symbols. 1 and 2, the numeral 2 indicates a keyboard / switch / volume controller (hereinafter referred to as an interface controller 2), and its input terminals are a keyboard 4, a display / switch 6 on a panel, an analog-digital converter (ADC). 8 and a pedal switch (sustain switch) 10. Various performance parameters are input to the input terminal of the ADC 8 from the external operation unit 12 such as a continuous slider, a volume pedal, a pitch bender wheel, and a modulation level wheel. The performance parameter which is an analog signal is A
The data is converted into digital data by the DC 8 and input to the interface controller 2. In addition, the interface controller 2 generates a program number PGM indicating a timbre according to a player's selection. The program number PGM is transmitted to the address pointer 14. The address pointer 14 generates an address of the timbre data memory 16 and supplies it to the memory. Tone data memory 1
Reference numeral 6 stores tone color data and other parameters such as tuning data, performance data, and system setting data in advance. The data read from the timbre data memory 16 is transferred to each section of the main controller via the data transfer controller 18. The contents of the timbre data memory 16 can be written by the timbre editor 20 to which the registration data DEY is supplied from the interface controller 2.

The portamento data stored in the tone data memory 16 is transferred to the portamento controller 22. The portamento controller 22 operates for a smooth transition from scale to scale, which is achieved according to the key code data KC and the key-on data KON supplied from the interface controller 2. The key code data KC and the key-on data KON are created by the interface controller 2. More specifically, the interface controller 2 scans the keyboard 4 to detect a pressed key, and indicates a key code KC indicating the pressed key and whether the key has been continuously pressed or has been released. Generate key-on data KON. In practice, this is done in one time-shared base,
Then, the key code data KC and the key-on data K
ON is assigned to a time slot prepared by the interface controller 2. The output data of the portamento controller 22 is supplied to the key code / frequency number converter 24.

Key code / frequency number converter 2
4 is a key code K using a frequency number table.
C is converted into frequency number data FND. This frequency number table is used to freely set the correlation between the key code KC and the frequency number data FND.
Writable by the tuning editor 26. The key-on data KON is also supplied to a pitch envelope generator 28 and a low-frequency oscillator (LFO) 30. The pitch envelope generator 28 creates pitch envelope data based on the rate and level parameters transferred from the timbre data memory 16 via the data transfer controller 18.

The details of the key code / frequency number converter 24 and the pitch envelope generator 28 will be described later. The low-frequency oscillator 30 uses the key-on data K
Low frequency data is generated in accordance with ON. This low frequency data is used for modulating the output data of the pitch envelope generator 28.

The low-frequency data is supplied to a multiplier 32, to which data is supplied from an adder 34. The adder 34 adds the output data of the multipliers 36 and 38. The multipliers 36 and 38 multiply the after touch data AT and the modulation data MOD supplied from the interface controller 2 by the level variation data supplied from the timbre data memory 16 via the data transfer controller 18, respectively. Aftertouch data AT and modulation data M thus modified
The OD is added by the adder 34, and the resulting data is supplied to the multiplier 32, where the LFO 30
The data from is corrected sequentially. The modified data is supplied to two multipliers 40 and 42, which multiply the supplied data by respective data from the timbre data memory 16.

The output data from the multiplier 40 and the pitch bend data PB from the interface controller 2 are supplied to an adder 44. The adder 44 adds these data to the data supplied from the pitch envelope generator 28. , The pitch modulation data PMD is obtained. On the other hand, output data from the multiplier 42 is used as amplitude modulation data AMD.

The key velocity KV is created by the interface controller 2 based on the interval between the key pressing timing and the key releasing timing, and is supplied to the velocity processor 50. Velocity processor 5
0 is calculated using a velocity curve supplied from the timbre data memory 16 via the data transfer controller 18,
The key velocity KV is converted into key velocity data KVD. The key velocity data KVD is transferred to the select switch 52, which selects the key velocity data KVD and the data transfer controller 1.
8, and selects one of the feedback level data supplied from 8 and outputs the selected data as feedback data FB.

MIDI (Musical Instrument Interfa)
ce) The output processor 54 has a program number PG
M, registration data DEY, key velocity KV, pitch bend PB, etc. are converted into MIDI standards, and these are output from output terminals OUT1 to OUT3. The main controller has terminals MIDI IN and THR to receive external MIDI data and to supply the data to the interface controller 2.
U is prepared.

The main controller includes a system clock generator 56 for supplying the scan clock φs to the interface controller 2 and a tone generator clock generator 58 for supplying clocks φ1 and φ2 to the tone generator 70. Various input data to the tone generator 70 is supplied from the main controller. The input data includes frequency number data FND, pitch modulation data PMD, amplitude modulation data AM
D, volume data VOL, key-on data KON,
Pedal data (sustain data) PEDAL, feedback data FB, key velocity data KVD, and other data from the data transfer controller 18. The data transfer controller 18 takes in the data stored in the tone data memory 16 and supplies it to the tone generator 70. These data are constant unless the timbre is changed, and include data such as frequency data FREQ, output level data OL, individual operation data, and algorithm data ALG. The details of these data will be described later.

The effect data EFC from the data transfer controller 18 is supplied to the sound effect system 60 for producing an echo or reverberation. The output of the sound effect system 60 is provided to a digital-to-analog converter (DAC) 62 provided for each channel to create an analog output signal.

FIGS. 3 and 4 are block diagrams showing the tone generator 70 together with the two figures. The tone generator 70 has six operators OP1 to OP6. Each operator OPi (i = 1, 2,...)
.. 6) include a waveform generator WGi, a phase generator PGi, and an amplitude envelope generator AEGi.

As shown in FIG. 5, the waveform generator WGi includes a basic waveform memory 72 containing data representing a single sine wave, an adder 74 for adding the phase angle data PH and the modulation data MOD, and A multiplier 76 is provided for multiplying the output data of the basic waveform memory 72 by the envelope data AEG from the amplitude envelope generator AEGi.

The phase generator PGi has a multiplier 78 and a phase accumulator 80. The multiplier 78 multiplies the frequency number data FNDa by frequency ratio data RFi (described later). The product of these data is supplied to a phase accumulator 80, which accumulates the product to generate phase angle data PH.

The phase angle data PH is supplied to an adder 74 and added to the modulation data MOD to generate address data of the basic waveform memory 72. Therefore, the sum of phase angle data PH and modulation data MOD determines the address of basic waveform memory 72 from which the sine data is read. The output data of the basic waveform memory 72 is supplied to a multiplier 76, where the data is multiplied by the envelope data AEG, and the result is created as output data of the waveform generator WGi.

The envelope data AEG is created in the amplitude envelope generator AEGi. This envelope, as is well known, is usually composed of four segments: attack, decay, sustain and release. The first segment,
That is, the attack portion of the envelope is truly the beginning of the sound. It starts after the key-on timing or a preset key-on timing period elapses (delay modulation). In the first segment, the amplitude of the envelope increases at a constant rate until it reaches a peak level. In the second segment, decay, the amplitude decreases at a constant rate to the sustain level (third segment). In the third segment,
It stays at a fixed level as long as the scale is held, in other words, while the key is pressed. Once the key is released, the sound will be in the fourth segment, namely
Entering the release portion, where the amplitude of the envelope decreases at a constant rate from the sustain level to the zero level.

The above rates and levels are supplied from the data transfer controller 18 to the data registers 82 and 84 as envelope generation data. Rate data register 82 stores the rate data of each segment, while level data register 84 stores the level data of each segment. The output of the level data register 84 is supplied to a multiplier 86, where the output is multiplied by output level data OL. This data OL is also supplied from the data transfer controller 18 as one of the tone data. The outputs of the rate data register 82 and the multiplier 86 are supplied to an envelope generator 88 that generates an envelope waveform using key-on data KON and pedal (sustain) data. The key-on data indicates the starting point of the attack part,
Then, the sustain data PEDAL continues the sustain part. The envelope generated by the envelope generator 88 is supplied to a multiplier 90, where it is multiplied by the amplitude modulation data AMD supplied from the data transfer controller 18 as one of the timbre data. The amplitude envelope data AGE is created as described above, and
This envelope data AGE is supplied to a multiplier 76 for modulating the output data from the basic waveform memory 72. The output of the multiplier 76 is supplied to an operator output adder ADi, and the operator output adder ADi adds output data EXOPIN from another operator and the output of the multiplier 76.

The operator OPi may have a feedback loop returning from its output to the input. This feedback loop corresponds to the feedback controller 9
2 and feedback controller 92
Is a feedback select switch 52 (see FIG. 2)
The feedback amount is controlled according to the feedback data FB supplied from. The select switch 52 selects the feedback level from the data transfer controller 18 or the key velocity data KVD from the velocity processor 50, as described above. As long as the timbre data is not changed, the feedback level is fixed at a constant value. During that time, the key velocity data KVD changes according to the pressing of each key. The selected data is supplied to the feedback controller 92 as feedback data. In practice, the feedback controller 92 includes a multiplier 92a, which outputs the feedback data F
B, and the value of the feedback data FB is represented by β (hereinafter referred to as feedback parameter β).

The six operators OP1 to OP6 can be connected in any manner by changing the input / output connections between operators OP1 to OP6, as shown in US Pat. No. 4,554,857. FIG. 3 and FIG.
One of these arrangements is shown in accordance with FIG. 5, A-3 of U.S. Pat. No. 4,554,857. The operators OP1 to OP3 and the operators OP4 to OP6 are cascade-connected, and the output data of the operators OP1 and OP4 are added by an operator output adder AD1. Other arrangements can be obtained by the algorithm controller 94 changing the connection between the operators OP1 to OP6. The algorithm controller 94 is constituted by a logic circuit such as a register or a logic gate, and operates so that the arrangement indicated by the algorithm data ALG is achieved.

Here, the input data of the operators OP1 to OP6 will be described. First, there are two groups of input data. This data is constant data unless the timbre is changed, and data that changes continuously. The certain data is supplied from the data transfer controller 18. That is, the individual operation data IDVOP, the frequency data FREQ, the envelope generation data EGD, and the output level data O
L and algorithm data ALG. On the other hand, the changing data is supplied from another part of the main controller. That is, they are frequency number data FND, feedback data FB, pitch modulation data PMD, amplitude modulation data AMD, key velocity data KVD, and volume data VOL.

Key code / frequency number converter 24
The frequency number data FND from FIG. 1 is supplied to an adder 96, where it is added to the common pitch modulation data CMN PMD described below to create new frequency number data FNDa. The frequency number data FNDa is supplied to all of the phase generators PG1 to PG6. Interface controller 2
Is supplied to the multiplier 98, where it is multiplied by the output of the adder AD1 of the operator OP1, and the result is output by the output TGO of the tone generator.
Generated as UT. The feedback data FB is
The feedback parameter β is supplied to the feedback controller 92 of the operator OP6 to control the feedback parameter β.

Other data PMD, IDVOP, FR
The EQ, EGD, OL, AMD and KVD contain the respective data of the operators OP1 to OP6 in a time division manner, and these are separated using a 1: 7 or 1: 6 demultiplexer.

The PMD demultiplexer 100 (1: 7 demultiplexer) converts the pitch modulation data PMD into common pitch modulation data CMN and six operators OP1 to OP.
It is separated into six individual pitch modulation data matching P6. The RF demultiplexer 102 (1: 6 demultiplexer) separates the frequency ratio data FREQ into six individual data. Similarly, the EG demultiplexer 104 separates the envelope generation data EGD into six individual data EGDATA1 to EGDATA6, and the output level demultiplexer 106 outputs the output level data O.
L into six individual output data OL1 to OL6,
The MD demultiplexer 108 separates the amplitude modulation data AMD into six individual amplitude modulation data AMD1 to AMD6, and the KVD demultiplexer 110 separates the key velocity data KVD into six individual data.

The six individual pitch modulation data from the PMD demultiplexer 100 are supplied to a gate circuit 112 having six switches, which switch either the individual pitch modulation data or the data of logical value 0, The selection is made under the control of the individual operation data IDVP. The output data of the gate 112 is added to the adder 1 to generate six individual frequency ratio data RF1 to RF6.
By 14, the output data of the RF demultiplexer 102 is added. The individual frequency ratio data RFi is used to modulate the frequency number data FNDa by using a phase generator PGi.
Supplied to

The output level data OL1 to OL6 from the output level demultiplexer 106 are supplied to a multiplier 116, where the six individual volume data VOLl
VOL6 is multiplied by the output data of the KVD demultiplexer 110, respectively. Data VOL
i, EGDATAi and AMDi, as well as key-on data KON and pedal data PEDAL are supplied to the amplitude envelope generator AEGi of each operator OPi.

According to the tone generator 70 shown in FIG. 3 and FIG. 4, the phase angle data PH generated by the phase generator PGi is converted into another phase generator PGj (j = 1,
2,..., 6 except i). This is because even if the frequency data FREQ keeps a constant value unless the timbre is changed, the individual pitch modulation data from the PMD demultiplexer 100 for each of the operators OP1 to OP6 changes with time. If the switch in the gate 112 corresponding to RFi is connected to the PMD demultiplexer 100, the frequency ratio data RFi changes regardless of other data RFj. Traditionally, all phase generators operate with the same frequency number data, so they produce the same phase data. Therefore, the sound lacks profoundness and lively sound quality. On the other hand, the phase generators PG1 to PG
6 is the same frequency number data FNDa according to frequency ratio data that changes independently of other frequency ratio data.
Can be selectively modulated. Therefore, the tone generator 70 according to the present invention can obtain a heavy, more dynamic, lively sound rich in overtones.

Furthermore, since the feedback parameter β of the operator OP6 can be changed by the key velocity, a large and dynamic change of the timbre can be achieved by touch. Generally speaking, the feedback parameter β can obtain more intense timbre change and more overtones, and in natural musical instruments, there is an annoyance that more intense touches produce more overtones. Therefore, for a better simulation of a natural instrument, the tone generator 70
Preferably, a stronger touch is designed to generate a larger feedback parameter β. This is done by adjusting the velocity curve in the velocity processor 50. In this way, it is possible to obtain a dynamic and lively tone that has a touch feeling, changes intensely, and is vibrant. Further, since the key velocity data KVD corresponding to the key velocity KV can be freely changed by changing the velocity curve in the velocity processor 50, changing the range of the timbre is freely set for each key number. You. Also, the velocity curve can be changed for all timbres, so that the touch feeling of each timbre can be set freely.

The feedback parameter β is also changed by the use of a β envelope generator. It is triggered by the key-on data KON and, like other envelope generators, has a feedback parameter β
Is designed to generate a waveform that modulates Moreover, the envelope waveform can be further modulated to create a more complex envelope.

FIG. 6 is a block diagram of the pitch envelope generator 28 shown in FIG. It has two registers that hold the envelope parameters, a rate register 120 and a level register 122. The pitch envelope has, for example, four segments SE1 to SE4 as shown in FIG. The segment SE1 starts at all key-on timings (or a predetermined time after that), and increases at a constant rate R1 until the amplitude reaches the peak level L1. The next part of the envelope, segment SEG2, starts at peak level L1 and decreases at a constant rate R2 to bottom level L2. Similarly, the segment SEG3 has an amplitude whose peak level L3
Increases at a constant rate R3 until the segment SE
G4 has a constant rate R until its amplitude reaches level L4.
Decrease by 4. These parameters R1 to R4 and L
1 to L4 are a write parameter WRITE and a random mode parameter RPEG (random pitch envelope).
Along with e), the data is supplied from the data transfer controller 18 shown in FIG.

The rate parameters R1 to R4 and the level parameters L1 to L4 are supplied from data selectors 124 and 126, respectively. Write parameter WRIT
When E is supplied to the selection terminals of the selectors 124 and 126, they select the rate parameters R1 to R4 or the level parameters L1 to L4 transferred from the data transfer controller 18 and supply them to the registers 120 and 122. These parameters are the write parameters WRITE as a shift pulse from the OR gate 128.
Is used to continuously write to the registers 120 and 122 before playing.

The rate register 120 is constituted by a four-stage parallel-in / parallel-out circular shift register. Each stage contains one of four parameters R1 to R4, the rate of which is determined by the shift pulse SHIFT by the selector 124.
Is circulated through. The level register 122 has the same structure as the rate register 120 and includes four level parameters L1 to L4.
1 to L4 are circulated through the selector 126 in synchronization with the rate parameters R1 to R4 by the shift pulse SHIFT.

The rate parameters R1 to R4 are continuously read from the register 120, and the rate generator 1
30. The rate generator 130 converts the rate parameter into a unique value according to a preset unique curve, and supplies it to the rate accumulator 132. The rate accumulator 132 accumulates the specific value in an increasing or decreasing direction according to an instruction from the segment controller 134.

The output data of the rate accumulator 132, ie, the generated envelope, is supplied to a level comparator 136, where it is compared with the current segment level. Level comparator 136
Generates a coincidence signal each time the amplitude of each segment reaches their peak level and
34. As described above, the coincidence signal is generated when the amplitude of the envelope reaches the levels L1, L2, L3, and L4, which are the end points of the segments SEG1 to SEG4. At the end of each segment, the segment controller 134 that has received the match signal
, And this signal is transferred to registers 120 and 122 as a shift pulse SHIFT. As a result, the rate parameters R1 to R4 and the level parameters L1 to L4 are continuously shifted and the selector 12
Circulating through 4,126. Thus, while the rate parameters R1 to R4 are continuously supplied to the rate generator 130, the level parameters L1 to L4 are supplied to the adder 138. The adder 138 adds a random number supplied from the random number generator 140 to the current level parameter. The random number generator generates random numbers for all segments.

FIG. 8 shows the configuration of the random number generator 140.
It includes an M-sequence random number generator 142 and an N-bit latch 144. As is well known, the M-sequence random number generator 142 has N D flip-flops 142-1 to 142-N and an exclusive OR gate 142a connected in series, and generates a random number RN. I do. The random number RN is supplied to the latch 144, and is loaded by the latch signal LATCH supplied from the segment controller 134 at all the start points of the segments SEG1 to SEG4. AND gate 146 ANDs key-on data KON and random mode parameter RPEG, and before loading,
The latch 144 is cleared by the key-on data KON supplied via the AND gate 146. Thus, the random numbers added to the level parameters L1 to L4 are:
It changes at the start point of the four segments and at each key-on timing.

FIG. 9 is a timing chart showing the operation of the pitch envelope generator 28. As shown in FIGS. 9B to 9D, the rate parameters R1 to R4 and the level parameters L1 to L4
Loaded before playing by RITE. At this timing, the output parameters of the rate register 120 and the level register 122 are R1 and L1, respectively (see (e) and (f) in the figure). In the case of the random mode, the random mode parameter RPEG is held at the "H" level (high level) as shown in (l).
When the key-on data KON is supplied (see (g) in the figure), this clears the rate accumulator 132 and the latch 144 in the random number generator 140. At the same time, rate generator 130 loads rate parameter R1 and summer 138 adds level parameter L1.
1 and a random number RN1, and the result of the addition, L1 '
(= L1 + RN1) is supplied to the level controller 136 (see (i) to (k) in FIG. 3). As described above, the rate accumulator 132 starts creating the first segment SEG1 (see FIG. 7A). First segment S
When the amplitude of EG1 reaches L1 ', the level comparator 136 gives a coincidence signal to the segment controller 134 which sequentially supplies the segment signal SEG to the OR gate 128. The OR gate 128 sends this coincidence signal as a shift pulse SHIFT to the registers 120 and 122 to circulate the contents of these registers. A similar operation is performed for each of the segments SEG2 to SEG4, and the envelope shown in FIG.
Created from

FIG. 10 shows an envelope waveform when the key is released before the fourth segment SEG4 is started. In this case, the envelope is rate R4
Decreases from the key-off point to the level L4.

The pitch envelope generator 28 uses the random number generator 140 and modulates the end level of the segments SEG1 to SEG4 as described above. Therefore, a simulation of playing a natural musical instrument is achieved.

The pitch envelope generator 28
The following alternatives or modifications are possible.

(A) In an actual performance of a wind instrument,
As shown in FIG. 11, the maximum pitch change appears in the attack portion. In order to simulate this and obtain a natural tone, the level L4 'must be zero. This is because unless the level L4 'is 0, a pitch deviation appears in a steady portion while the key is pressed (see FIG. 11). In order to avoid pitch deviation, the level L4 'must be kept at 0. This is achieved by resetting the latch 144 with a third match signal created at the end of the third segment, thereby preventing level L4 (= 0) modulation by random numbers.

FIG. 12 shows a circuit diagram for achieving the above operation. The counter 150 is reset by each key-on data KON, and the signal SEG
Count. When the content becomes "3", a logical value "0" appears at the output terminal of the NAND gate 152, and this "0" signal clears the latch 144 through the AND gate 154. As described above, since the latch 144 is reset at the end point of the third segment SEG3, modulation of the level L4 by random numbers is prevented.

FIG. 13 is a block diagram of the key code / frequency number converter 24. 8-bit key code KC from interface controller 2 in FIG.
Is supplied to a key code detector 160, where it is converted to a key number. The key code KC is configured as shown in FIG. This code has 8 bits, with the lower half indicating the key name and the upper half indicating the octave belonging to the key name. The key number is
The data is supplied to the frequency number table 162 and is converted into the corresponding frequency number data FNDb. For example, if the key number is 60, the frequency number data C3 is read from the frequency number table 162. This frequency number data FNDb is modulated as described below.

To modulate the frequency number data FNDb, three parameters are considered. That is, the center key data CKD and the stretch factor data S
FD and key number data KN.

FIG. 15 shows the relationship between these parameters. The deviation from the equal temperament is set so as to be 0 at a preset center key, and to change in proportion to the key number. This proportional constant is called stretch factor data SFD. The deviation DEV1 from equal temperament for a given key is expressed by the following equation.

DEV1 = (KN-CKD) * SFD (1)

Further, another deviation DEV2 from equal temperament within an octave is given by setting an arbitrary value for each scale. 16 to 17 show an example of the deviation DEV2. This deviation DEV2 is prepared with the intention of simulating a “honky tonk piano”.

The sum of these deviations DEV1 and DEV2 is
As shown in FIG. 18, the total deviation DEV from the equal temperament is given, and is expressed as follows.

DEVJ = DEV1 + DEV2 = (KN−CKD) * DEV2 (2)

The deviation DEV is calculated from the frequency number data FN
Db and therefore the resulting frequency number data FND is expressed as:

FND = (KN−CKD) * SFD + DEV2 + FNDA (3)

The calculations described so far are performed by the arithmetic unit 170. First, the 8-bit center key data CKD is supplied to the complement circuit 174 through the center key register 172, where the complement is created.
The complement (-CKD) of the center key data is calculated by the adder 176.
, Where it is added to the key number KN provided from the key code decoder 160. Thus, (KN-CKD) is obtained from the adder 176. Second, the 4-bit stretch factor data SFD is supplied to the multiplier 180 through the register 178, where it is multiplied by the output data from the adder 176. Therefore, the output data of the multiplier 180 is (KN-CKD) * SFD (= DEV1) as given by the first equation. Third, the deviation DEV2 is added to the deviation DEV1 by the adder 182, and the sum DEV1 + D
EV2 (= DEV) is obtained. Finally, the sum DEV is supplied to an adder 184, where the deviation DEV is added to the frequency number data FNDb. The sum of the results is
It is generated as frequency number data FND from the adder 184. The deviation DEV2 is stored in advance in the stretch tune table 186, and
4 is supplied. This stretch tune table 18
An example of the contents of No. 4 is shown in FIG.

The data in the tables 162 and 186 are supplied from the data transfer controller 18 as temperament data and set therein. Data transfer controller 18
Retrieves the temperament data from the timbre data memory 16,
Then, the data is transferred to the tables 162 and 186. When the temperament data does not have a deviation from the equal temperament, the original temperament is executed. On the other hand, if the temperament data has a deviation as shown in FIG. 16, for example, the key code / frequency number converter 24 creates frequency number data simulating “honky tonk piano”.

As described above, according to the key code / frequency number converter 24, the deviation from the equal temperament is calculated by a few parameters. As a result, it is possible to easily obtain tuning data in which the deviation from the equal temperament increases in proportion to the key number.

While an embodiment of an electronic musical instrument having a configuration consistent with the present invention has been described above, it means that the present invention is limited to a specific form and usage described herein. Not something.

[0068]

As described above, according to the present invention, when envelope data representing an envelope waveform is generated by calculation based on a plurality of parameters for generating an envelope waveform composed of a plurality of portions, the data is generated. Each time the envelope waveform shifts to the next part, the random number generating means changes the parameter according to the generated random number, and generates envelope data based on the changed parameter until the next part ends. This can greatly alter the envelope's general shape and produce more dramatic changes in the sound, thus producing more complex and lively sounds, such as those produced by natural instruments. Can play.

[Brief description of the drawings]

FIG. 1 is a block diagram showing a main controller of an electronic musical instrument according to an embodiment of the present invention, together with FIG.

FIG. 2 is a block diagram showing a main controller of the electronic musical instrument according to one embodiment of the present invention, together with FIG.

FIG. 3 is a block diagram showing an electrical configuration of a tone generator 70 of the electronic musical instrument together with FIG.

FIG. 4 is a block diagram showing an electrical configuration of a tone generator 70 of the electronic musical instrument together with FIG.

5 is a block diagram of an operator in the tone generator 70. FIG.

FIG. 6 is a block diagram of a pitch envelope generator 28 in the main controller.

FIG. 7 is a waveform diagram showing a pitch modulation envelope generated by a pitch envelope generator 28.

FIG. 8 is a circuit diagram showing a configuration of a random number generator in the pitch envelope generator 28.

9 is a timing chart showing an operation of the pitch envelope generator 28. FIG.

FIG. 10 is a waveform diagram showing a pitch envelope generated by the pitch envelope generator 28 when a key is released before the envelope reaches the fourth segment.

11 is a diagram illustrating a relationship between a pitch envelope generated by a pitch envelope generator 28 and an amplitude envelope generated by an amplitude envelope generator AEGi, and illustrating a result at a level L4. FIG. It is.

FIG. 12 is a block diagram showing a circuit configuration for preventing a pitch change during a steady portion of the amplitude envelope shown in FIG. 11 (b).

FIG. 13 is a block diagram showing a configuration of a key code / frequency number converter 24 of the main controller.

FIG. 14 is a table showing a configuration of a key code.

FIG. 15 is a diagram illustrating a relationship between a key number and a deviation from a corresponding average rate.

FIG. 16 is a chart showing a deviation of each scale within an octave.

FIG. 17 is a diagram showing a relationship between scales in an octave and deviations from these average rates.

FIG. 18 is a diagram showing a relationship between scales within an octave and deviations from these average rates.

[Explanation of symbols]

2 Interface controller 24 Key code / frequency number converter 28 Pitch envelope generator 50 Velocity processor 70
... Tone generator (musical tone generating means), 78 multiplier, 92 feedback controller, 94
Algorithm controller, 100 PMD demultiplexer, 102 RF demultiplexer, 112
, Gate, 114, adder, 140, random number generator (random number generating means), 162, frequency number table, 170, calculation unit, 186, stretch tune table, OP1 to OP6, operator.

Claims (1)

[Claims] 1. An envelope generating means for generating random number generating means for generating a random number, and generating envelope data indicating an envelope waveform by calculation based on a plurality of parameters for generating an envelope waveform comprising a plurality of parts. The parameter is changed according to the random number generated by the random number generating means each time the envelope waveform to be shifted to the next portion, and the envelope is determined based on the changed parameter until the next portion is completed. An electronic musical instrument comprising: data generating means; and musical tone generating means for generating a musical tone signal, wherein said musical tone signal is changed with time according to envelope data generated from said envelope generating means.