JPS6076797A - Automatic musical sound generator - Google Patents

Abstract

(57) [Summary] This bulletin contains application data before electronic filing, so abstract data is not recorded.

Description

DETAILED DESCRIPTION OF THE INVENTION The present invention relates to a device that automatically generates musical tones, such as an autochord, an autochord, and a mate-ease. By changing and controlling the characteristics over time, it is possible to generate musical sounds with a rich natural feel. It has been proposed that digital waveform data representing the waveforms up to and including No. 4, 3 (see No. 15,319).

In such an autorhythm device, the actual percussion instrument sound 1:
There is an advantage in that the sound quality of autorhythm sounds can be improved by using data obtained by recording PCM (Pulse Code Modulation L/-John). However, when playing the sounds of a certain Uchiei instrument sequentially, the same waveform data is read out from memory, so it is impossible to express subtle differences in sound quality in the progression of the rhythm or in relation to other instruments, resulting in a lack of natural sound or It lacked a sense of realism.

An object of the present invention is to provide a novel automatic musical tone generation device that can cause each generated musical tone to have timbre changes and/or amplitude changes that approximate those of a natural musical instrument.

In the automatic musical tone generator of the present invention, FIG.
As shown in FIG. 2, waveform data representing the waveform of a musical tone to be generated from its rise to the end of decay is stored in a storage means such as a memory. The waveform data that can be stored may be data obtained by IPcM recording of the sounds of musical instruments actually played. Waveform data is read from the storage means in response to a timing signal instructing musical tone generation timing.

The waveform of a musical tone is divided into a plurality of frames (7 frames from Fl to F70 in this example) on its time axis, as shown in Figure 1 (bl), and musical tone viscosity such as timbre and amplitude envelope is controlled for each frame. Normally, there is a larger change in musical tone characteristics in the rising part of a musical tone than in the decay part, so in order to make it possible to control the musical tone characteristics in response to such changes, the attenuation is changed as shown in Figure 1 (bl). The rising part σ
) It is recommended to use VC to narrow the frame width and increase control accuracy.Furthermore, frame divisions may be determined separately for timbre control and amplitude envelope control, and in this case, the number of frames and You can define the frame width.

In musical tone characteristic control, frame specification data specifying frames such as F1 to F7 are generated sequentially in accordance with the timing signal, and musical tone characteristics are controlled for each frame in accordance with these frame specification data. The control data for this is generated. And what about the waveform data that has been read out from the storage means? Tone characteristics are controlled for each frame in accordance with l1tJ control data.

The invention will now be described in detail with reference to embodiments shown in the accompanying drawings.

FIG. 2 shows a #II sound generating device according to an embodiment of the present invention, and this device is configured to automatically generate rhythm sounds, chords, and ease sounds.

The tempo generator 10 has a tempo volume 101L, and is designed to generate a tempo clock signal TCLY having a frequency corresponding to the tempo set by the tempo volume 108.

The rhythm selection switch circuit 12 includes a large number of rhythm selection switches corresponding to rhythm types such as march, waltz, and bobbin, and specifies a specific rhythm type in response to rhythm selection operations using these rhythm selection switches. Rhythm type designation data R8D is sent out.

The rhythm data generator 14 has a rhythm/daturn memory 1.
48woi] And in this rhythm pattern memory 18,
Rhythm nobiturn data is stored for each rhythm type in the format shown in FIG. 3. In FIG. 3, CHN indicates channel number data, INT indicates intensity data, and RETM indicates relative time data t. For each impact sound, channel number data CHN and intensity data INT form #'J, l, and a plurality of Here, the data sets are arranged in the order of impact sound generation, and each channel number data CIIN li indicates one of the plurality of time-sharing channels to be described later. In addition, each relative time data RETM indicates the relative time of each month of impact to be generated by the generator in sequence, and the data corresponding to these 4゛] impact sounds (CHN -INT
) There is a feeling of being inserted between the groups. Note that K, which instructs the simultaneous generation of multiple impact sounds, sends a set of data (CHN-INT) corresponding to multiple impact sounds to J, as illustrated in part A of Fig. 3.
ilt1 then place 41-1 between these data sets.
It is a good idea to avoid inserting time data.

In the rhythm data generator 14, a group of rhythm turn data to be read from the rhythm pattern memory 14a is selected according to the 14th rhythm type designation data RSDK, and from the rhythm pattern memory 148, a tempo clock signal TCL is selected. Accordingly, a selected group of rhythm pattern data can be read out.

In this data read operation, after reading the first set of channel number data CHN and intensity data INT, the relative time indicated by the first relative time data RETM is counted in the tempo clock signal TCL', and the relative time is When the next set of channel number data CHN and intensity data INT are read out, the process is sequentially performed. In addition, several 4i sets of channel number data CHN and strength/weakness data INT, as illustrated in part A of FIG. 3, are sequentially read out one set at a time for relative time measurement. The channel number data CIIN and intensity data INT that have been completely read out from the rhythm pattern memory 14, L are sent out from the rhythm pattern generator 14 in parallel for each set.

Strength data I sent out from the rhythm data generator 14
NT and channel number data CHN are supplied to the channel allocation circuit 16. This channel allocation circuit 16 includes an n-stage/m-bit shift register 16.
This shift register 16. constitutes a circular memory circuit. Shift register 16. Regarding the stage number nod, it is determined corresponding to the number of musical instruments sufficient for each rhythm type (for example, eight), and the number of bits m is determined corresponding to the number of bits of the dynamics data INT. The number of time division channels is equal to the number of stages n.

The channel allocation circuit 16 receives channel number data CH
Strength data INT' according to H! ? shift register 1
6. Assign the strength data INT to a specific channel by loading it into the channel. For example, if channel lever number data CHN indicates channel number IY, strength data INT is assigned to channel number 10.
is allocated, and the channel allocation circuit 16
Based on the output of the shift register 16a, a timing signal RYON instructing the hitting sound generation timing and strength data INT are generated in parallel, and such signal/data generation operations are repeated in a time-division manner. Note that when new channel number data CHN and strength data INT are sent from the rhythm data generator 14, the contents of the shift register 161 are updated accordingly, and the timing signal RYON and strength 7' are updated based on the new data. - Evening IN
Both T occur in a time-divisional manner.

The instrument name data generator 18 includes an instrument group ROM (read only memory) 188 and the like.
The OM 18a stores instrument name data representing the name of the instrument used for each rhythm type. ROM 18a
A group of instrument name data that should be read out from the ROM 1 will be selected according to the rhythm pattern designation data R8D.
By reading out 8a from 8a and allocating it to a plurality of time-division channels (the number of channels is equal to the number of stages n described above), the musical instrument name data NMD is repeatedly generated in a time-division manner. The instrument name data NMD indicates that when a specific rhythm type (for example, Podanopa) is selected, multiple percussion instruments (transferring instruments) used to play the selected rhythm are selected.
! 41 cymbal, 2nd cymbal, high bongo snare drum, etc.) are specified in correspondence with channel numbers 0, I, 2.3, etc., so the channel numbers are determined by the rhythm pattern data mentioned above. By specifying , you can command the generation of a specific percussion instrument sound. For example, in the Boza Nopa example above, if you specify the channel number o and generate the timing signal RYON at the timing of the O channel, 610 cymbal sounds will be generated. Q of sound It is possible to give commands.

Read *'rl start/end address memory 2Il is for each rJ
Instrument name data (NMI), which stores readout start address data and readout end address data for each instrument name, and is supplied in a time-sharing manner from the instrument name data generator 18)
Start reading out the number of percussion instruments according to the number of percussion instruments.
D and read end address data EAD are sent out in a time-division manner. Read start address data S
A D is supplied to the adder circuit 22, and the read end address data EAD can be supplied to the comparator 24.

The multi-channel address counter 26 includes a shift register that has the same stage as the shift register 10R described in M+J, and an adder that adds 1 to the output of this shift register and manually inputs it to the shift register. Each of the plurality of time division channels, which is equal in number to the number of register stages, can perform one or more operations according to the clock signal φ. Of the multiple time division channels, the one that actually performs the counting operation is the timing signal RYO.
N is a manually generated channel, and an address signal AD is sent out in a time-division manner from the counter 2 (i) so as to indicate an address value that increases at a constant rate for each counting channel.

The address signal AD is supplied to the circuit 22,
It is added to the read start address data SAD for each channel. Therefore, the adder circuit n outputs an address signal necessary for reading out the ak type data from the percussion waveform memory 28 in a time-division manner.

Further, the address signal AD is supplied to the comparator 24)1, u
1, and is compared with the output/end address data EAD for each channel. When the address tifi- indicated by the address signal AD for a specific channel matches the end address value indicated by the read end address data EAD, the comparator 2 generates a match output EQ and outputs the l in the counter 21'i.
Argument operation reset for the Yimosei channel This reset operation is similarly performed for the other channels.

The percussion sound waveform memory 28 stores digital waveform data representing the waveform damper value from the rise of one percussion sound to the end of attenuation for each t1 instrument for a large number of drum instruments used in various rhythm performances. be. Here, the digital waveform data corresponding to each percussion sound is created by recording the actual sound of an RJ instrument and converting it from A/D at the sample rate. Good.

In the memory 1728, waveform data is read out in a time-division manner in response to an address signal consisting of the addition output of the adder circuit 22 mentioned above, and is supplied to the digital film adder. This digital filter 3o is provided to change the characteristic of the 41-shot sound to 'BJ' according to human control.

The waveform data sent out from the digital filter 8 is supplied to a digital amplitude control circuit 32 consisting of a digital arithmetic circuit and the like. This digital amplitude control circuit 32
is provided to variably control the amplitude enlope characteristic of the rJjH sound according to human control.

The multi-channel frame number generator 34 includes a multi-channel counter etc. that can perform counting operations in accordance with the clock signal φ on a plurality of time-division channels in the same way as the counter 26 described above. Based on the output, frame number data FND indicating the frame number as shown in FIG. 1 fbl is transmitted in a time-division manner. Of the multiple time division channels, the one that actually performs the counting operation is the one to which timing No. 45 RYON is input, and the frame number data FND is set to 0 as shown in Figure 1 (b) for each channel that performs the division operation.
~■(.

The word 1 number range indicates the number of frame Fl, and (K
In the count value range of 1+1) to 2, the number of frames F2 is indicated, and so on. Multi-channel frame number generator 34
The frame number data FND sent from the frame number data FND is supplied to the control data source generation circuit father together with the strength data INT and the instrument name data NMD. and 40 correction constant ROMs.
40VCr, i Correction constant data for correcting the timbre and amplitude of the percussion sound according to the strength and frame number of each percussion instrument is stored in the memory. By the way, the correction mode of the timbre and amplitude is different in point 11 alignment between the rJ instrument type indicated by the instrument name data NMD, the starting strength indicated by the dynamic data INT, and the frame number indicated by the frame box row data FND. There are various types depending on the situation, but some of them may be the same.

Therefore, in this embodiment, in order to reduce the data f# stored in the ROM 40, only one correction constant common to several correction modes is stored.
The OM 38 makes it possible to output common correction constant data.

In the control data generation circuit 3G, the equipment name data NM
D, strength data INT and frame number data FN
In response to D, correction constant data regarding one or more impact sounds to be generated is read out from the ROM 4 (l) in a time-sharing manner. , timbre correction constant data TCD regarding the impact sound to be generated is supplied in a time-sharing manner.1
However, the control data generation circuit 36 supplies the digital amplitude control circuit 32 with amplitude correction constant data ACD regarding the percussion sound to be generated in a time-division manner.

Therefore, in the digital filtering, the timbre characteristics of the percussion sound are controlled for each frame in accordance with the timbre correction constant data TCD. , and digital amplitude control circuit 3
In No. 2, the depth enlope characteristic of the percussion sound is controlled for each frame in accordance with the amplitude correction constant data ACD.

Note that when the number of frames is different for timbre control and amplitude envelope control, the multi-channel frame number generator 3
The accompaniment data generator 42 is provided with a plurality of chord paviturn memories 42a and 42a, and has a plurality of chord paviturn memories 42a.
The chord pattern memo 1742a stores chord V turn data for each rhythm stroke M in the format shown in FIG. 4, and the pace pattern memory 42b stores data for each rhythm. In FIG. 4, the pace pattern data is stored for each solo in a framemat as shown in FIG. 5. In FIG. 4, CINT is dynamic data for chords, and is arranged in the order in which the chords occur. Also, CRETM
is relative time data indicating the relative time between chords to be generated mn times, and is inserted between dynamics data CINTO corresponding to these chords.

In Fig. 5, IVT indicates pitch data, BINT indicates dynamics data, and BRETM indicates relative time data.For each R-sound, pitch data ITV and dynamics data BI are shown.
NT forms a set, and a plurality of data sets are arranged in the order of occurrence of the ys sound. Here, each pitch data ITV indicates the pitch of the Ys note relative to the root note of the chord in degrees, such as 1st and 3rd, and each dynamic data BINT specifies the strong field of the R-S note that should be generated. It is something to do. Furthermore, each relative time data BRETM should be sequentially generated by the R-
This indicates the relative time between the E's sounds, and is inserted between the data (ITV BINT) sets corresponding to these E's sounds.

The accompaniment data generator 42 generates a group of chord pattern data to be read from the chord pattern memory 42a, and the yeast pattern memory 421. A group of Ys pattern data to be read from the rhythm class specified data R
8D Select pregnancy and memory female according to. From there, a selected group of chord pattern data can be read out in response to the tempo clock signal TCL. In this data read operation, as in the case of reading the rhythm pattern data described above, the first dynamic data CINTY is visited, and then the relative time indicated by the relative time data CRETM is calculated by counting the tempo clock signal 1''CL. When the data is opened, the next strength data CINTY is read out sequentially.

Furthermore, the tempo clock signal TCL is output from the menu 42b.
A selected group of Ys pattern data is read out in accordance with the above. In this data read operation, as in the case of reading the rhythm pattern data described above, after reading the first set of pitch data ITV and dynamics data BINTf, the tempo clock signal TCL is counted and the relative time BRETM is calculated.
On the 1141'kil side, the next set of pitch data ITV and dynamics data BINT'& reading out the accompaniment data generator 42, which will be performed in the 11th time, is as follows:
Every time the dynamics data CINT is read out from the Waminoreen memory 1742a, a chord W-on signal CKON is sent together with the dynamics data CINT. Every time the accompaniment data generator 42Ii reads out the pitch data ITV and dynamics data [NT] from the Y/V turn memory 42b, it sends out the easy key-on signal BKON'Y together with the pitch data ITV and dynamics data BINT. .

The chord needle board circuit 44 generates chord key press data in response to chord key press operations, and the chord key press data generated by the generator is supplied to a chord bubble detection circuit 46.

The chord bubble detection circuit 46 detects chord names such as C major and G seventh based on the supplied chord key press data, and sends chord name data CDNi indicating the detected chord names. 48 readout start/end address memories store readout start address data and readout end address data for each chord name, and readout start address data is successively generated in response to the chord name data CDN from the chord bubble detection circuit 46. C8AD and read end address data C
It is designed to send EAD4. ,, The successive start address data C8AD is supplied to the adder circuit blade, and the read end address data CEAD is supplied to the comparator 52.

Each time the address counter 54 receives the mutual key-on signal CKON, the address counter 54 increments the clock signal φ by i and increases the address value by 2 at a constant rate.
D) g is generated, and this θ) address signal CAD
is supplied to the adder circuit and comparator 52.

The adder circuit adds the read start address data C8AD and the address signal CAD, and the output of the addition is used as an address signal for reading waveform data from the sum waveform memory.

The comparator 5z compares the read end address data CEAD and the address signal CAD.
When the address value indicated by the number CAD reaches the end address value indicated by the output and end address data CEAD,
Match output EQ? +' occurs and i of the address counter 54
The ff operation is clear.

The waveform memory 56 stores digital waveform data representing one night of the waveform from the rise of the mixed tone of the chord constituent notes to the end of the chord for each chord. Here, the digital waveform data corresponding to each chord may be created by recording the chord actually played and performing A/D conversion at a certain rhythm rate.

From the memory 56, the waveform data is read out according to the address number consisting of the addition output of the above-mentioned 9-circuit blade, and is transferred to the digital filter 58. This is provided to control pJ variation according to human power.

The waveform data sent out from the digital filter is supplied to a digital amplitude circuit from a digital multiplication circuit or the like. This digital amplitude control circuit 60 is provided to variably control the amplitude en-R lowso characteristic of a chord according to a control input. 7-1. .

The frame number generator 62 includes a counter for counting the clock signal φ, and is configured to sequentially send out frame number data CFNDY related to chords based on the output C of this counter. Classification and frame number assignment can be performed in the same manner as described above with respect to FIG. 64 is supplied to the furnace.

The control data generation circuit 64 includes an address conversion ROM θ and a correction constant ROM 61-, and a correction constant ROM 61-.
68 stores correction constant data for correcting the timbre and amplitude of chords. Address conversion ROM 66
Similar to the address conversion ROM 38 described above, the address conversion ROM 38 is provided to enable common use of correction constant data.

In the control data generation circuit 64, the chord name data CD
N, strength data CINT and frame number data CF
Correcting constant data regarding the chord to be generated is sequentially read out in accordance with the ND. Therefore, the control data generation circuit 6
B color correction constant data CTCD regarding the chord to be generated is supplied to the digital filter group from 4 to 114th. Further, the control data generation circuit 64 supplies the digital amplitude control circuit 60 with 194 amplitude correction constant data CACD for the chord to be generated.

Therefore, in the digital filter 58, the printing characteristics of the Japanese name are controlled for each frame in accordance with the color correction constant data CTCD. Great digital amplitude control circuit 60
In this case, the amplitude en-rozo characteristic of the chord is controlled for each frame in accordance with the amplitude correction constant data CACD.

The Ys note designation time m70 specifies the Ys note to be generated based on the chord name data CDN and pitch data IT'V. I am trying to send data BKD'i.

The successive start/end address memory 72 stores reading U'' start address data and readout end address data for each Ys note name. Start address data BSAD and read end address data BEADY are sent out.

The read start address data BSAD is supplied to an adder circuit 74, and the read end address data BEAD is supplied to a comparator 76.

The address counter 78 outputs a 4-key on signal BKON.
Each time i receives the clock signal φ, the address signal BAD is set so that the clock signal φ is counted and the address value is increased at a constant rate.
This address signal BAD is supplied to an adder circuit 74 and a comparator 76.

Addition @74 is to add the read start address data BSAD and the address signal BAD. It is done once a month.

The comparator 76 compares the read end address gutter BEAD with the address signal RAD.
When the address ffj indicated by AD matches the end address value indicated by the read end address data BEADσ), a match output EQ is generated and the 8f number operation of the address counter 78 is reset.

The 2-step sound waveform message 1:1780 stores digital waveform data representing a sample value of the waveform for each 2-step sound from its rise to the beginning and end of the table. Here, it is preferable to use digital waveform data corresponding to each ys sound that is created by A/D converting a recording of the ys sound actually played at a sample rate.

Waveform data is read out from the memory in response to an address signal consisting of the addition output of the addition circuit 74 mentioned above.
The signal is supplied to a digital filter 82. This digital filter 82 is provided to variably control the timbre characteristics of the R-s tone in accordance with a control input.

The waveform data sent out from the digital filter 82 is
The signal is supplied to a digital amplitude control circuit 84 consisting of a digital multiplication circuit and the like. This digital amplitude control circuit 84 is provided to variably control the amplitude enlope characteristic of the 4-sound in accordance with the control φ11 human power.

The frame number generator 86 includes a counter for counting the clock signal φ, and based on the output of the counter, frame number data BFND'rl regarding the village-sound is generated.
F4th VC is sent out.

Here, the frame division and frame number determination regarding the 4-sound can be performed in the same manner as described above with respect to FIG. and the base pitch name data BKD are supplied to the control data generation circuit.

The control data generation circuit 88 is an address conversion ROM (a).
and a correction constant ROM 92'4, and the correction constant ROM 92 stores correction constant data for correcting the timbre and amplitude of the bass sound. Address conversion R
Like the address conversion ROM 38 described above, the OM901-1 is provided to enable common use of correction constant data.

In the control data generation circuit 88, correction constant data regarding the tense sound to be generated is sequentially read out in accordance with (r:1, ease note name data BKD, dynamic data BINT, and frame number data BFND. The control data generation circuit section sequentially supplies the digital filter 82 with timbre correction constant data BTCD relating to the generated bass tone. Amplitude correction constant data HACD regarding the desired bass tone is supplied next.

Therefore, in the digital filter 82, the timbre characteristics of the 4-sound are controlled for each frame in accordance with the timbre correction constant data BTCD. 1. In the digital amplitude control circuit 32, the amplitude characteristic of the R-sound is controlled for each frame in accordance with the positive constant data BACD. The sound waveform data, the sum waveform data sent out from the digital amplitude control circuit 60, and the base sound waveform data sent out from the digital amplitude control circuit 84 are based on the applied force and D/'A.
tl-1 addition processing and D/A supplied to the conversion circuit 94
The conversion process will be processed next. Then, addition and D/'A
The analog musical tone signal sent out from the conversion circuit 94 is supplied to a speaker 98 via an output amplifier 96 and converted into sound. FIG. 6 shows an automatic rhythm playing device according to another embodiment of the present invention, in which the speaker 98 outputs autorhythm sounds (blow sounds), autochord sounds (chords), and auto 4-s sounds. Similar parts in FIG. 2 are denoted by the same reference numerals and detailed explanation will be omitted.

The feature of the device shown in Fig. 6 is that it has a composite waveform that each represents the waveforms of multiple strikes generated by a certain percussion instrument with different striking forces. A plurality of sets of waveform data are stored, and the plural sets of waveform data are read out in parallel and mixed according to a predetermined mixing ratio for each frame. Due to this characteristic, cracks occur due to strong impact force.
The sound of the impact is weak compared to the generator and the impact force is weak.
With σ), which contains many four-wave components, even the sound of the same -tJ instrument can be reproduced with slightly different tones depending on the mixing ratio.

J'J Gakusho-Waveform memo + 728 A-1 each tJ instrument 1
Digital waveform data representing the Ranzl value of the waveform from the start of the attack to the end of the fall is stored, and the impact sound waveform memo IJ 21 (B is
For each I'J instrument, digital waveform data representing the Ranzl value of the waveform from the rise of the relative soft attack to the end of the decline is stored.

From the memories A and 4B, waveform data is read out in a time-division manner according to the address signal consisting of the force output of the force applying circuit 22, and when looking at a specific channel, the waveform data is read out in a time-division manner, consisting of the force output of the force applying circuit 22. Waveform data corresponding to the J-shot sound and waveform data corresponding to the weak tJ* sound are sent out in parallel from the memos 1J 28A and 28B, respectively. Then, the waveform data read from the memory public figure is transferred to the p circuit 1 (
The waveform data supplied to JOA and read out from memory 28B is supplied to multiplication circuit 100B.

The open side 1 data generation circuit 102 is an address conversion ROM 1.
04 and a correction constant generator 106, the correction constant generator 106 is a mixing ratio ROM 106. Contains the same. The address conversion ROM 104 is a mixing rate ROM
106IL is provided in order to be able to commonly use several amplitude correction modes such as the mixing ratio data FND, and the frame number data FND from the multi-channel frame number generator 34 and the strength/weakness data from the channel allocation circuit 16. Data INT and instrument name data NMD from the instrument name data generator 18,! l: This is a requested input.

The mixing ratio ROM 106a stores mixing ratio data indicating the mixing ratio of strong and weak percussion sounds according to the strength of sound and frame number for each percussion instrument. Mixing ratio data is for each t]
It is a good idea to store about 8 types for each instrument.Mixing ratio R
OM106. From then on, the mixing ratio data is read out in a time-sharing manner according to the output of the address conversion ROM 104, and in response to this, the correction constant generator 1021-j reads out the amplitude correction constant data ACDI of the strong impact sound in a time-sharing manner. At the same time, the amplitude correction constant data ACD of the weak J'J shot sound is sent to
2 in a time-division manner.

Multiplication circuit 1 (IOA is amplitude correction constant data A, CI)
1, and the riding circuit 100B controls the amplitude amplitude characteristic of the strong impact sound for each frame according to the vibration correction constant data ACD2. . Then, the next γma circuit 1
The waveform data from 00A and 100B is added to the rY circuit 10.
At step 8, force is applied (mixed). As a result, the strong and weak impact sounds are mixed at a predetermined mixing ratio for each frame.

The waveform data sent out from the adder circuit 108 is sent to a D/A conversion circuit 110 and converted into an analog 4J signal. Then, the analog sound signal from the D/A conversion circuit JJO is sent to the output amplifier 9b and the speaker 98.
As soon as the sound is supplied, autorhythm sounds are output from the speaker 98.

In the above 6 self-ignition example, data indicating the Sansor value of the musical sound waveform was used as the memorized waveform data, but data indicating the difference in the Sansor value for each adjacent sample point is stored as waveform data, and this waveform data Read out and process the waveform signal? M may be generated. Further, the control of the timbre, amplitude en-rozo, etc. for each frame may be performed after converting the digital waveform data read from the waveform memory into an analog signal.

As described above, according to the present invention, a musical sound waveform is divided into a plurality of frames with respect to its time axis, and musical tone characteristics such as timbre and width envelope R rope are controlled for each frame, thereby preventing occurrence of musical sound waves. It is possible to cause each musical tone played to have a timbre change and/or amplitude change that approximates that of a natural musical instrument. It also represents the sound of a certain instrument (for example, the top cymbal).
It is also possible to generate sounds of other musical instruments having similar characteristics (for example, a crash sympathizer) based on the waveform data.

[Brief explanation of drawings]

FIGS. 1(a) and 1(b) are for explaining the present invention in detail, (al is a waveform diagram, (bl is a frame layout diagram, and FIG. 2 is an automatic diagram according to an embodiment of the present invention. FIGS. 3, 4, and 5 are block diagrams showing the musical tone generator, and formant diagrams showing the data formants in the rhythm nose turn memory, chord pattern memory, and -1 stroke pattern memory, respectively. 14 is a block diagram showing an automatic rhythm performance device according to another embodiment of Jin's invention. 14... Rhythm data generator, 48, 72.
・Reading start lIF: Completed address Address memory, 5
4, 78...address counter, 2((,28A,
28B...Blow sound waveform memory, 30, 58, 82
...Digital filter, 32, 60, 84...
・Digital amplitude control circuit, 34, 62, 86...
・Frame number generator, 36, 64, 88.102...
- Control data generation circuit, 42...accompaniment data generator,
56... Sum waveform memory, 8()... Base sound waveform memory, 100A, 100B... Multiplication circuit, 1
08...Addition circuit.

Claims (1)

[Scope of Claims] 1. (a1) storing means for storing waveform data representing the waveform of the musical tone to be generated; (b+ means for generating a timing signal for instructing the generation timing of the musical tone; (el) means for sequentially generating frame designation data for designating each frame when the waveform is divided into a plurality of frames with respect to its time axis in accordance with the above-mentioned and f-timing signals, and the storage in accordance with the tdl pre-ml timing signal; reading means for reading out the waveform data from the storage means; control data generation means for generating control data for controlling musical tone characteristics for each frame according to the frame designation data (e1); Respond to distorted waveform data
- A control means for controlling musical tone characteristics for each frame according to the control data when the musical tone signal is generated. Automatic musical tone generator 6゜2, in the claimed device, wherein the control means comprises a variable filter? Characteristic automatic musical tone generator. 3. %r [Side Tree Range The automatic musical tone generating device according to item 1, wherein the control means is derived from an amplitude control circuit. 4 (at) storage means for storing a plurality of sets of waveform data each representing a plurality of waveforms on a plurality of strikes generated from a certain rJ musical instrument with different striking forces; Generates a timing signal to indicate 1-
means for at least -9, of the plurality of 1'shots;
Time axis K 1,9J L. (dl) means for sequentially generating frame designation data for each frame in response to the timing signal when the frame is divided into multiple frames; reading means for reading waveform data in parallel; and a data generator for generating amplitude control data corresponding to the mixing ratio of the plurality of impact sounds for each frame in accordance with the frame designation data. (f) receiving several sets of waveform data read out in parallel from the storing means, and controlling the amplitude en-rozo characteristic of at least one set of the waveform data for each frame according to the amplitude control data; (g) means for generating a percussion sound signal in accordance with the waveform data from the mixing control means; automatic musical tone generator.