1. An electronic keyboard instrument, comprising:

a keyboard (11) including a first key and a plurality of bass range keys on a bass range side;

a processor (13A); and

a sound source (13C),

said sound source based on a key press detection of said first key when a damper off is detected by said processor (13A),

inputting first actuation signal data (s61) corresponding to the first key into a first channel (63) corresponding to the first key,

inputting first channel output data (s35) outputted by the first channel in accordance with the input of the first excitation signal data (s61) to the respective low-range channels (21-01 to 21-12) corresponding to the plurality of low-range keys,

tone data generated based on each of low-range channel output data and first channel output data (s35) output by the first channel (63) is output as tone data corresponding to the first key, the each of low-range channel output data being data output by the each of low-range channels (21-01-21-12) in accordance with input of the first channel output data (s 35).

2. The electronic keyboard instrument according to claim 1,

the sound source (13C) does not input each low-range excitation signal data corresponding to each of the plurality of low-range keys to each of the low-range channels (21-01-21-12) in accordance with key depression detection of the first key when the processor (13A) detects that the damper is turned off.

3. The electronic keyboard instrument according to claim 1 or 2,

said sound source (13C) upon detection of a key press of said first key by said processor (13A) without detection of a damper off,

inputting first actuation signal data (s61) corresponding to the first key into a first channel (63) corresponding to the first key,

first channel output data (s35) output by the first channel (63) in response to input of the first excitation signal data (s61) is not input to each of the low tone range channels (21-01 to 21-12) corresponding to the plurality of low tone range keys, but is output as musical tone data corresponding to the first key.

4. The electronic keyboard instrument according to any one of claims 1 to 3,

the plurality of bass keys includes bass keys of at least 1 octave magnitude.

5. The electronic keyboard instrument according to any one of claims 1 to 4,

the first excitation signal data (s61) is input to the first channel (63), and percussion sound signal data (s62) of percussion sounds complementing frequency components between a fundamental component and a harmonic overtone component corresponding to the first key is input to the first channel (63).

6. The electronic keyboard instrument according to any one of claims 1 to 5,

the sound source (13C) based on a key press detection of any one second key of the plurality of low range keys when a damper off is detected by the processor (13A),

inputting second actuation signal data corresponding to the second key to a second channel corresponding to the second key,

inputting second channel output data, which is output by the second channel in accordance with the input of the second excitation signal data, to each of the low-pitch channels corresponding to the plurality of low-pitch keys other than the second key,

tone data generated based on each of low-range channel output data and second channel output data output by the second channel is output as tone data corresponding to the second key, the each of low-range channel output data being data output by the each of low-range channels in accordance with input of the second channel output data, respectively.

7. The electronic keyboard instrument according to any one of claims 1 to 6,

is provided with a pedal of a damper,

the processor (13A) detects the damper off according to a user's depression of the damper pedal.

8. A musical tone generating method, wherein,

based on the detection of the first key being pressed when the processor (13A) detects that the damper is off, a sound source (13C),

inputting first actuation signal data (s61) corresponding to a first key into a first channel (63) corresponding to the first key,

first channel output data (s35) output by the first channel in accordance with the input of the first excitation signal data (s61) is input to each of the low-pitch channels (21-01 to 21-12) corresponding to the plurality of low-pitch keys,

tone data generated based on each low-range channel output data and first channel output data (s35) output by the first channel (63) is output as tone data corresponding to the first key, the each low-range channel output data being data output by the each low-range channel (21-01-21-12) in accordance with input of the first channel output data (s 35).

9. The tone generation method according to claim 8, wherein,

the sound source (13C) does not input each low-range excitation signal data corresponding to each of the plurality of low-range keys to each of the low-range channels (21-01-21-12) in response to a key press detection of a first key when a processor (13A) detects that a damper is turned off.

10. The tone generation method according to claim 8 or 9, wherein,

said sound source (13C) upon detection of a key press of said first key by said processor (13A) without detection of a damper off,

inputting first actuation signal data (s61) corresponding to the first key into a first channel (63) corresponding to the first key,

first channel output data (s35) output by the first channel (63) in response to input of the first excitation signal data (s61) is not input to each of the low tone range channels (21-01 to 21-12) corresponding to the plurality of low tone range keys, but is output as musical tone data corresponding to the first key.

11. The tone generation method according to any one of claims 8 to 10, wherein,

the plurality of bass keys includes bass keys of at least 1 octave magnitude.

12. The tone generation method according to any one of claims 8 to 11, wherein,

the sound source (13C) inputs the first excitation signal data (s61) to the first channel (63), and inputs striking sound signal data (s62) of striking sounds complementing frequency components between a fundamental component and a harmonic overtone component corresponding to the first key to the first channel (63).

13. The tone generation method according to any one of claims 8 to 12, wherein,

the sound source (13C) based on a key press detection of any one second key of the plurality of low range keys when a damper off is detected by the processor (13A),

inputting second actuation signal data corresponding to the second key to a second channel corresponding to the second key,

inputting second channel output data outputted by the second channel in accordance with the input of the second excitation signal data to the respective low-pitch channels corresponding to the plurality of low-pitch keys other than the second key,

tone data generated based on each of low-range channel output data and second channel output data output by the second channel, the each of low-range channel output data being data output by each of the low-range channels in accordance with input of the second channel output data, is output as tone data corresponding to the second key.

14. The tone generation method according to any one of claims 8 to 13, wherein,

the processor (13A) detects that the dampers are off according to the depression of a damper pedal by a user.

Background

A technique of a resonance sound generation device capable of more faithfully simulating the resonance sound of an acoustic piano has been proposed. (e.g., Japanese patent laid-open publication No. 2015-143764)

Disclosure of Invention

An electronic keyboard instrument according to an embodiment of the present invention includes:

a keyboard including a first key and a plurality of bass range keys on a bass range side;

a processor; and

a sound source for generating sound from the sound source,

said sound source based on a key press detection of said first key by said processor detecting that a damper is off,

inputting first actuation signal data corresponding to the first key to a first channel corresponding to the first key,

inputting first channel output data, which is output by the first channel in accordance with the input of the first excitation signal data, to each of the low-pitch channels corresponding to the plurality of low-pitch keys,

tone data generated based on each of low-range channel output data and first channel output data output by the first channel is output as tone data corresponding to the first key, the each of low-range channel output data being data output by the each of low-range channels in accordance with input of the first channel output data.

A tone generation method as one embodiment of the present invention, wherein,

based on the detection of the first key being pressed when the processor detects that the damper is off, the sound source,

inputting first actuation signal data corresponding to a first key into a first channel corresponding to the first key,

inputting first channel output data, which is output by the first channel in accordance with the input of the first excitation signal data, to each of the low-range channels corresponding to the plurality of low-range keys,

tone data generated based on each of low-range channel output data and first channel output data output by the first channel is output as tone data corresponding to the first key, the each of low-range channel output data being data output by the each of low-range channels in accordance with input of the first channel output data, respectively.

According to the present invention, favorable damper resonance can be generated.

Drawings

Fig. 1 is a block diagram showing a basic hardware circuit configuration of an electronic keyboard instrument according to an embodiment of the present invention.

Fig. 2 is a block diagram illustrating a conceptual configuration of the entire sound source channel for generating a chord tone according to this embodiment.

Fig. 3 is a block diagram illustrating the functional configuration of the embodiment at the installation level of tone data generated from channel output data of chord tones and attack tones at the installation level.

Fig. 4 is a block diagram showing a detailed circuit configuration of the string-tone model channel in the present embodiment.

Fig. 5 is a block diagram showing a detailed circuit configuration of mainly the percussion sound generating path of the embodiment.

Fig. 6 is a block diagram showing a circuit configuration of the waveform reading unit according to this embodiment.

Fig. 7 is a block diagram showing a detailed circuit configuration of the all-pass filter of fig. 4 according to this embodiment.

Fig. 8 is a block diagram showing a detailed circuit configuration of the low-pass filter of fig. 4 according to this embodiment.

Fig. 9 is a flowchart showing the processing contents in the sound source DSP at the time of reception of the damper off signal in the present embodiment.

Fig. 10 is a flowchart showing the processing contents in the sound source DSP at the time of reception of the damper on (damper on) signal according to this embodiment.

Fig. 11 is a diagram illustrating a frequency spectrum of the acoustic piano of this embodiment.

Fig. 12 is a diagram illustrating a frequency spectrum of a striking sound obtained by removing a waveform component of a chord tone from the frequency spectrum of fig. 11 according to this embodiment.

Fig. 13 is a diagram illustrating a spectrum of a string sound of this embodiment.

Fig. 14 is a diagram showing a specific example of waveforms of musical tones of a piano, which are added and synthesized with waveforms of musical tones constituting the piano according to the embodiment.

Fig. 15 is a diagram illustrating a relationship between waveforms of fundamental tones and overtones in the present embodiment.

Detailed Description

An embodiment in a case where the present invention is applied to an electronic keyboard instrument will be described with reference to the drawings.

[ Structure ]

Fig. 1 is a block diagram showing a basic hardware circuit configuration in a case where the present embodiment is applied to an electronic keyboard instrument 10. In this figure, an operation signal s11 and an operation signal s12 are input to the CPU13A of the LSI13, the operation signal s11 including a note number (pitch information) and a velocity value (key velocity) as volume information in accordance with an operation on the keyboard section 11 as a performance operation element, and the operation signal s12 being an operation signal of damper on/off in accordance with an operation on the damper pedal 12.

The LSI13 connects the CPU13A, the first RAM13B, and the sound source DSP (digital signal processor) 13C, D/a converter (DAC)13D via the bus B.

The sound source DSP13C is connected to a second RAM14 outside the LSI 13. Further, a ROM15 external to the LSI13 is connected to the bus B.

The CPU13A controls the overall operation of the electronic keyboard instrument 10. The ROM15 stores action programs executed by the CPU13A, excitation signal data for performance, and the like. The first RAM13B functions as a buffer memory for delaying a signal for generating musical tones, such as a closed-loop circuit.

The second RAM14 is a work memory for the CPU13A and the sound source DSP13C to develop and store operation programs. The CPU13A provides parameters such as a note number, a velocity value, and a resonance parameter associated with a tone color (a resonance level indicating a level of damper resonance and a level of string resonance) to the sound source DSP13C during a musical performance operation.

The sound source DSP13C reads out the operation program and the fixed data stored in the ROM15, expands and stores the operation program and the fixed data in the second RAM14 serving as a work memory, and executes the operation program. Specifically, the sound source DSP13C reads excitation signal data for generating a required chord tone from the ROM15 based on parameters supplied from the CPU13A, adds the excitation signal data to processing in the closed-loop circuit, and synthesizes output data of the closed-loop circuits to generate signal data of the chord tone.

The sound source DSP13C reads signal data of a striking sound different from a string sound from the ROM15, and generates output data in which the amplitude and the sound quality are adjusted according to the velocity for each channel assigned to a note to be sounded.

The sound source DSP13C synthesizes the output data of the generated chord tone and attack tone, and outputs the synthesized musical sound data s13c to the D/a conversion unit 13D.

The D/a converter 13D converts the sound data s13c into analog signals (s13D), and outputs the signals to an amplifier (amp.)16 outside the LSI 13. The speaker 17 performs sound amplification and sound reproduction of musical sounds by the analog musical sound signal s16 amplified by the amplifier 16.

In addition, the hardware circuit configuration shown in fig. 1 can be realized by software. When implemented by a Personal Computer (PC), the circuit configuration of the functional hardware is different from that shown in fig. 1.

Fig. 2 is a block diagram illustrating a conceptual configuration of the principle of the entire sound source channels of the chord tones from the sound source DSP13C without using the channel allocation by the dynamic allocation.

In accordance with the number of keys (notes) 88 of a general piano, control signals composed of information on/off of notes, velocity, and damper on/off are supplied to string model Channels (CH)21-01 to 21-88 for performing closed-loop processing of 88 notes. In fig. 2, the lower side in the figure is located on the bass side, and the upper side in the figure is located on the treble side.

Here, 1 note amount of a piano is defined as a model channel including 3 strings (middle and high ranges) (1 string or 2 strings in the low range).

In each of the string model channels 21-01 to 21-88, signal data is generated at a pitch and a volume to be sounded by a channel in which a key is set to note-on, and their outputs are added by an adder 22 and output as output data of a string sound.

Further, the output data of the string sounds output from the adder 22 is appropriately attenuated by the amplifier 23 for negative feedback, and fed back and input to each of the string model channels 21-01 to 21-88, thereby generating resonance sounds.

Further, the output data of the striking sound described later is also fed back and inputted to the string model channels 21-01 to 21-88.

In the present embodiment, the struck sounds include components of sounds such as impact sounds when a hammer collides with a string inside a piano, operational sounds of the hammer, key-hitting sounds of fingers of a pianist, and sounds when a keyboard collides with a stopper and stops in an acoustic piano, and do not include components of pure string sounds (fundamental tone components and harmonic overtone components of each key). The hitting sound is not necessarily limited to the sound of the physical hitting operation itself generated at the time of pressing the key.

Further, string model channels 21-01 to 21-12 of 1 octave of 12 note quantity on the lowest note side, which are indicated by a broken line II in FIG. 2, are set as note regions in which string sounds are produced when the dampers having depressed the damper pedal 12 are turned off.

In order to use the musical tone data obtained by synthesizing the output data of the string sounds and the output data of the attack sounds as the musical tone of the finished piano, as shown in fig. 2, the output data of the string sounds and the output data of the attack sounds are input to the string model together to generate musical tone data as resonance sounds, but since feedback is applied to the output data of the output string sounds and the output data of the attack sounds are generated as PCM sound sources, the input is performed not by feedback but by feedforward (series connection), and thus the paths are different.

Since the output data of the impact sound is inputted by the feedforward structure, it is not necessary to cope with the abnormal oscillation.

The input of the output data of the impact tones to the string model channels 21-01 to 21-88 is basically performed in the channels of the full string model, but in the present embodiment, only the 1 octave amount on the lowest tone side shown in the note zone II in fig. 2 is required.

However, considering the dynamic allocation method, there is an advantage that all the string model channels can be handled equally, and the configuration can be unified.

In addition, assuming that the channel of the string model is 88 keys, it is not necessary to adopt a dynamic allocation method, and the sounding notes of the respective string model channels 21-01 to 21-88 can be fixed as a structure of a static allocation method.

On the other hand, if the channels of the string model are a smaller number than 88, for example, 32, a maximum of 32 model channels are dynamically allocated in accordance with the supplied note-on/off signal in a dynamic allocation manner. In this case, it is needless to say that musical tones of all the 88 note amounts cannot be simultaneously generated.

When the damper off signal is generated as the damper pedal 12 is stepped on, it is necessary to turn off the dampers of all the strings and reproduce a state in which resonance is easily caused.

In the present embodiment, when the damper off signal is generated, the partial static allocation scheme is adopted, and only the dampers of 1 octave in the lowest register are turned off, thereby generating resonance sounds in which the dampers resonate.

That is, in the case where the damper off signal is generated in the system configuration in which the entire system is dynamically allocated, 1 octave amount and 12 notes are allocated in order from the lowest note, and the damper is similarly turned off, thereby generating the damper resonance sound.

At this time, in a case where the corresponding note in the corresponding lowest register 1 octave has been pressed, the damper-off state is already in the note, and therefore, the process of setting the damper off in the note is skipped. Since the state of the empty channel changes depending on the number of model channels and the note-on/off of each key, accurate damper resonance sound can not be generated in any state, but the damper resonance sound can be generated with minimum resources by sequentially assigning the channels from the strings of low-pitched sound. The process control for this will be described later.

Next, the reason why the damper resonance sound is obtained in the damper off process for only the lowest sound 1 octave amount will be described.

The reason why the damper resonance can be generated by turning off the dampers for the 1 octave amount, for example, from the note region in which the lowest note is limited is that the bass string includes the overtones of all higher notes. For example, overtones of a0 include overtones of notes with the same pitch name but higher, such as a1, a2, A3, …. Therefore, as in a case of a0, a0#, B0, C1, C1#, …, G1, and G1#, the damper-off operation for the lowest scale of 1 octave can produce a harmonic sound when the dampers for the full note are off, and as a result, a resonance sound can be produced which is close to a case where the dampers for the full note are off.

Next, differences in the effects between the case where the dampers are turned off for the full strings and the case where the dampers are turned off for the 1-octave amount in the lowest register will be described.

The main reason is that the resonance generated in the whole string and the resonance generated in the damper off process of the lowest register 1 octave amount are different from each other because the magnification of the frequencies having the harmonic or octave relationship is not an exact integer, because the non-tuning (the phenomenon that the frequencies of harmonic overtones are deviated from integral multiples due to incompatibility) or the stretch tuning (the general tuning (tuning) method in which the frequencies of harmonic overtones are harmonized to non-harmonious piano tones by tuning high tones to higher tones and low tones to lower tones). However, since the frequency component characteristics constituting the overtones are close and the number of overtones is very large, users of the electronic musical instrument are hard to perceive in actual use and the sound quality is sufficient.

Fig. 3 is a block diagram illustrating a functional configuration at the installation level based on the sound source DSP13C for generating musical tone data from channel output data of chord tones and attack tones in a dynamic allocation manner.

In order to set the tones in which the string sounds and the attack sounds are combined as the tones of the finished piano, there are a plurality of channels, for example, 32 channels, in each of the string sounds and the attack sounds.

Specifically, excitation signal data s61 of a string sound is read from the excitation signal waveform memory 61 in accordance with the note-on signal, channel output data s63 of a string sound is generated by closed-loop processing in each string sound model channel 63 of the maximum 32 channels, and output to the adder 65A. The addition result synthesized by the adder 65A is output data s65A as a chord tone, attenuated by the amplifier 66A in accordance with the level of the chord tone from the CPU13A, and then input to the adder 69.

The output data s65A of the string sound output from the adder 65A is delayed by the delay holder 67A by an amount of 1 sampling period (Z-1), attenuated by the level of the damper resonance string sound from the CPU13A in the amplifier 68A, and fed back to the string sound model channel 63.

On the other hand, the signal data s62 of the impact is read from the impact waveform memory 62 by the note-on signal, and the channel output data s64 of the impact is generated in each of the maximum 32-channel impact generation channels 64, and is output to the adder 65B. The added result combined by the adder 65B as the output data s65B of the attack sound is attenuated by the amplifier 66B according to the attack sound level from the CPU13A, and then input to the adder 69.

Further, the output data s65B of the attack sound output from the adder 65B is attenuated in the amplifier 68B in accordance with the damper resonance attack sound level from the CPU13A, and is input to the string sound model channel 63.

The adder 69 synthesizes the output data s66A of the chord tone input via the amplifier 66A and the output data s66B of the attack tone input via the amplifier 66B by addition processing, and outputs the synthesized musical tone data s 69.

The signal s13a1 indicating the level of the string sound at the designated attenuation rate output from the CPU13A to the amplifier 66A and the signal s13a2 indicating the level of the attack sound at the designated attenuation rate output from the amplifier 66B, i.e., the sum ratio of the string sound and the attack sound, are parameters set in accordance with the preset piano tone color and the preference of the user.

The signal s13a3 at the damper resonance string tone level output from the CPU13A to the amplifier 68A and the signal s13a4 at the damper resonance attack tone level output from the amplifier 68B are parameters that can be set differently from the string tone level signal and the attack tone level signal described above.

This is because, in an actual acoustic piano, the sound emitted as the main sound is the sound generated by the bridge (bridge) of the piano string, the soundboard, and the whole body, and the resonance sound emitted by the bridge, which is the main transmission path of the resonance between the strings, differs in sound quality. Therefore, the difference can be adjusted. In general, by setting the component of the struck tone to a large setting, the tone propagated in the bridge transmission path can generate the damper resonance tone into a sound very similar to that of an acoustic piano.

When it is desired to set the string resonance amount generated when the damper pedal 12 is not depressed and the damper resonance amount when the damper pedal 12 is depressed, the level of the damper resonance (striking/string sound) may be controlled to be changed according to the state of the depression mode of the damper pedal 12.

For example, in the case of resonance sound (string resonance) when the damper is on, the damper pedal 12 is not depressed, sound close to pure sound is generated as resonance sound, and therefore, a setting in which the striking sound is set to a small amount is considered. In the case of a resonance sound (damper resonance) when the damper pedal 12 is depressed and the damper is off, it is conceivable to set the striking sound to a large number because a sound having a wide frequency band excited by the striking sound is generated as the resonance sound.

Fig. 4 is a block diagram mainly showing a detailed circuit configuration of the string-tone model channel 63 of fig. 3. In fig. 4, ranges 63A to 63C enclosed by broken lines in the drawing correspond to 1 channel, except for the note event processing unit 31 and the excitation signal waveform memory 61(ROM15) described later.

That is, in the electronic keyboard instrument 10, a signal circulation circuit having 1 (lowest pitch range), 2 (low pitch range), or 3 (middle pitch range or more) string models per 1 key is assumed based on an actual acoustic piano. In fig. 4, a common signal circulation circuit corresponding to 3 string models is provided by the dynamic allocation.

Hereinafter, 1 string-sound model channel 63A of a signal circulation circuit of 3 string models will be described as an example.

The note event processing unit 31 is supplied with a note on/off signal s13a5, a velocity signal s13a6, a rate setting signal s13a7 of Decay/Release, a resonance level setting value signal s13a8, and an on/off signal s13a9 of a damper from the CPU13A, and sends a sound emission start signal s311 to the waveform reading unit 32, a velocity signal s312 to the amplifier 34, a feedback amount signal s313 to the amplifier 39, a resonance value signal s314 to the Envelope Generator (EG)42, an integer part Pt _ r [ n ] of a chord length delayed according to a pitch (pitch) to the delay circuit 36, a small part Pt _ f [ n ] to the all-pass filter (APF)37, and a cut-off frequency Fc [ n ] to the Low Pass Filter (LPF)38, respectively.

The waveform reading unit 32, which has received the sound generation start signal s311 from the note event processing unit 31, reads out the excitation signal data s61 subjected to the window-doubling processing (window-doubling processing) from the excitation signal waveform memory 61 and outputs the read excitation signal data s61 to the amplifier 34. The amplifier 34 adjusts the level of the excitation signal data s61 by the attenuation amount corresponding to the velocity signal s312 from the note event processing unit 31, and outputs the adjusted excitation signal data s61 to the adder 35.

Further, the adder 35 receives the output data s41 obtained by adding the chord tone and the attack tone as the sum output from the adder 41, and outputs the sum output obtained as the result of the addition as the channel output data s35(s63) of the chord tone directly to the adder 65A of the next stage, and outputs the sum to the delay circuit 36 constituting the closed loop circuit.

The delay circuit 36 sets a chord length delay Pt _ r [ n ] from the note event processing unit 31 as a value corresponding to an integer part of 1 wavelength of the sound output when the string vibrates (for example, 20 in the case of a high-pitched key and 2000 in the case of a low-pitched key) in the acoustic piano, delays the channel output data s35 by the chord length delay Pt _ f [ n ], and outputs the result to the all-pass filter (APF) 37.

The all-pass filter 37 has a chord length delay Pt _ f [ n ] set by the note event processing unit 31 as a value corresponding to the fractional part of 1 wavelength, and outputs the output data s36 of the delay circuit 36 to the Low Pass Filter (LPF)38 with the chord length delay Pt _ f [ n ] set. That is, the delay circuit 36 and the all-pass filter 37 delay the time (1 wavelength time) determined according to the note number information (pitch information).

The low-pass filter 38 passes the waveform data s37 of the all-pass filter 37 on the low frequency side of the wide attenuation cutoff frequency Fc [ n ] set for the frequency of the chord length by the note event processing unit 31, and outputs the waveform data to the amplifier 39 and the delay holder 40.

The amplifier 39 attenuates the output data s38 from the low-pass filter 38 based on the feedback amount signal s313 supplied from the note event processing unit 31 and outputs the attenuated data to the adder 41. The feedback amount signal s313 is set in accordance with a value of a rate following Decay in the key state and the damper off state, and in accordance with a value of a rate following Release in the non-key state and the damper on state. When the rate of Release (reverberation) is high, the feedback amount signal s313 becomes smaller, so that the sound is attenuated more quickly and the degree of resonance of the string sound is low.

The delay holding unit 40 holds the waveform data output from the low-pass filter 38 by an amount (Z-1) of 1 sampling period, and outputs the result to the subtractor 44 as a subtraction number.

The subtractor 44 receives the output data s68A of the resonance sound for the resonance sound before 1 sampling period, in which the full string model is superimposed on the amplifier 68A, and outputs the output data s44 of the difference to the adder 45, taking the output of the low-pass filter 38 via the delay holder 40, that is, the output data s40 of the string model itself, as a divisor.

The adder 45 receives the output data s68B of the attack sound from the amplifier 68B, and the sum of these pieces of output data s45 is supplied to the amplifier 43. The amplifier 43 performs attenuation processing based on a signal s42, and outputs the output data s43 after the attenuation processing to the adder 41, and the signal s42 is supplied from the envelope generator 42 and indicates the volume corresponding to the stage of ADSR (Attack)/Decay/Sustain/Release) that changes in time in accordance with the resonance value from the note event processing unit 31.

The adder 41 adds output data s39 of its own string model, which is the output of the amplifier 39, and output data s43 of resonance of the entire string sounds and the attack sounds, which is the output of the amplifier 43, and supplies the output data s41 of the sum output to the adder 35, thereby performing feedback input of the resonance sounds to the closed loop circuit.

When the note-on signal s13a5 is input to the note event processing unit 31, the velocity signal s312 to the amplifier 34, the integer part Pt _ r [ n ] of the delay time to the delay circuit 36 according to the pitch, the fractional part chord length delay Pt _ f [ n ] of the all-pass filter 37, the cutoff frequency Fc [ n ] of the low-pass filter 38, the feedback quantity signal s313 to the amplifier 39, and the resonance value signal s314 to the envelope generator 42 are set to predetermined levels before sound generation starts.

When the sound emission start signal s311 is input to the waveform reading unit 32, the output data s34 corresponding to the predetermined velocity signal s312 is supplied to the closed-loop circuit, and sound emission is started in accordance with the set tone color change and delay time.

Then, the feedback amount signal s313 corresponding to a predetermined rate of Release (reverberation) is supplied to the amplifier 39 by the note off signal s13a5 in the note, and the operation proceeds to the mute operation.

In the key state and the damper off state, the feedback amount signal s314 supplied to the envelope generator 42 has a value according to the delay amount in the delay circuit 36 and the all-pass filter 37.

On the other hand, in the non-key-pressed state and the damper-on state, the feedback quantity signal s314 supplied to the envelope generator 42 has a value corresponding to the volume at the time of Release (reverberation).

As the control of the feedback quantity signal s314 supplied to the envelope generator 42, the non-key-pressed state and the damper-on state become small, the sound is attenuated quickly, and resonance is not so great.

In the case where the damper off state is set in the non-depressed state, that is, in the state where the damper pedal 12 is depressed, the series of parameters for the note-on are set in accordance with the damper on/off signal s13a9, but the sound generation start signal s311 is not transmitted to the waveform reading unit 32, and the output data s34 is not input to the adder 35 via the waveform reading unit 32 and the amplifier 34.

When the damper is in the off state in the key state, the closed loop circuit including the delay circuit 36, the all-pass filter 37, the low-pass filter 38, the amplifier 39, the amplifier 43, and the adder 41 is excited by the input string output data s68a or the input impact output data s68b, and a resonance sound is generated.

As described above, since the string sound model channels 63A to 63C are channels in which 3 strings are arranged for each 1 channel of a note of a piano, there are advantages as follows: in the case of dynamic allocation, if the output data (s63) of all channels are fixed to 3 strings in advance and the processing operation is unified in advance, the program configuration of the processing and the circuit configuration of the hardware are simplified, and dynamic change of the string configuration is not required.

This is for the same reason as follows: in the present embodiment, when the sound source processing of the scale such as the note 1 octave of the lowest note is not performed alone, the input of the output data of the originally unnecessary impact sound is also unified.

In the case of unifying the channel structures of the respective string models into a 3-string model, in the case of assigning a 3-string model to a note in the region of 2-string and 1-string, control can be performed at the stage of starting processing of the sound emission output excitation signal data, and it is possible to easily cope with setting to eliminate a subtle pitch difference indicating the pitch (course) of the string.

In addition, in the case of performing, for example, static assignment in which the string model is prepared 88 in the amount of notes and each note is fixedly assigned, there is no limitation to this.

Further, the present invention will be described with reference to a specific embodiment, in a case where an arbitrary first key included in the keyboard 11, excluding keys included in the 1 octave of the lowest scale, is pressed while the damper pedal 12 is depressed, first output data from a first channel corresponding to the first key is input to 12 low-range channels (21-01 to 21-12) corresponding to the 1 octave of the lowest scale.

Here, excitation signal data (low-range excitation signal data) is not input to any low-range channel corresponding to the 1-octave of the lowest register. That is, the waveform reading section 32 included in each of the 12 low-range channels does not read the excitation signal data (low-range excitation signal data) from the excitation signal waveform memory 61.

This is because the 12 low-pitch range channels corresponding to the 1 octave of the lowest pitch range are used only to generate the sound of the resonant strings of the first key to be depressed, not the keys included in the 1 octave of the lowest pitch range, by depressing the damper pedal 12 (by turning the damper off), and these low-pitch range channels are used to generate the sound corresponding to the depression of the keys.

In the embodiment of the present invention, the output data of each of the 12 low-range channels and the output data from the channel corresponding to the first key that is depressed are added (combined) by the adder 22, thereby generating musical sound data including the resonance sound at the time of the damper off, which corresponds to the first key that is depressed.

Here, when any second key included in the 1 octave of the lowest scale included in the keyboard 11 is depressed while the damper pedal 12 is depressed, output data from the second channel corresponding to the second key is input to 11 low-range channels other than the second channel among the 12 low-range channels corresponding to the 1 octave of the lowest scale, and the output data from the 11 low-range channels and the output data from the second channel are added (combined) by the adder 22, thereby generating musical sound data including a resonance sound when the damper is off, corresponding to the depressed second key.

In this case, the waveform reading section 32 corresponding to the second channel which is the low-range channel reads the excitation signal data (low-range excitation signal data) from the excitation signal waveform memory 61. On the other hand, the waveform reading section 32 included in each of the remaining 11 low-range channels does not read the excitation signal data (low-range excitation signal data) from the excitation signal waveform memory 61.

Fig. 5 is a block diagram mainly showing a detailed circuit configuration of the striking sound generation passage 64 of fig. 3. The percussion sound generation path 64 has a 32-path signal generation circuit in response to the dynamic allocation method.

Hereinafter, 1 of the striking sound generation passages 64 will be described as an example.

The note event processing unit 31 is supplied with a note-on/off signal s13a5 from the CPU13A, and sends a sound generation control signal s315 to the waveform readout unit 91, a signal s317 indicating note-on/off and velocity to the Envelope Generator (EG)42, and a signal s316 indicating a cutoff frequency Fc corresponding to the velocity to the Low Pass Filter (LPF) 92.

The waveform reading unit 91, which receives the sound emission control signal s315 from the note event processing unit 31, reads out the signal data s62 indicated from the attack sound waveform memory 62(ROM15) in which the signal data s62 of the attack sound is stored as the PCM sound source, and outputs the signal data s62 to the low-pass filter 92.

The low-pass filter 92 passes a low-frequency component lower than the cut-off frequency Fc supplied from the note event processing unit 31, provides a change in tone color according to the velocity, and outputs the signal data s62 of the attack sound to the amplifier 93.

The amplifier 93 performs a volume adjustment process based on a signal s42, and outputs the channel output data s93(s64) of the processed attack sound to the adder 65B of the subsequent stage, the signal s42 being supplied from the envelope generator 42 and indicating the volume corresponding to the stage of ADSR that varies with time in correspondence with the velocity from the note event processing section 31.

As shown in fig. 3, the channel output data s64 of the attack sound of the maximum 32-channel amount is synthesized and summed by the adder 65B, and is output to the adder 69 via the amplifier 66B, while being output to the side of the chord tone model channel 63 that processes the musical tone signal of the chord tone via the amplifier 68B.

Fig. 6 is a block diagram showing a common circuit configuration of the waveform reading unit 32 for reading the excitation signal data s61 of a chord in the chord model channel 63 of fig. 4 and the waveform reading unit 91 for reading the impact signal data s62 in the impact generation channel 64 of fig. 5.

When there is a key in the keyboard section 11, an offset address indicating a head address corresponding to a note number and a velocity value to be sounded is held in the offset address register 51. The held content s51 of the offset address register 51 is output to the adder 52.

On the other hand, the count value s53 of the current address counter 53, which is reset to "0 (zero)" at the time of sound generation initiation, is output to the adder 52, the interpolation unit 56, and the adder 55.

The current address counter 53 is a counter as follows: the count value is sequentially incremented by a result s55 obtained by adding the hold value s54 of the pitch register 54 holding the reproduction pitch (pitch) of the pulse and the count value s53 thereof by the adder 55.

The reproduced pitch of the pulse as the set value of the pitch register 54 is "1.0" in a normal case if the sampling rate of the signal data in the excitation signal waveform memory 61 or the attack tone waveform memory 62 matches the string model, and provides a value added or subtracted from "1.0" when the pitch is changed by master tuning, stretch tuning, rhythm, or the like.

The output (address integer part) s52 of the adder 52, which is obtained by adding the offset address s51 from the offset address register 51 and the current address s53 from the current address counter 53, is output as a read address to the excitation signal waveform memory 61 (or the attack sound waveform memory 62), and the excitation signal data s61 (or the attack sound signal data s62) of the corresponding chord tone is read from the excitation signal waveform memory 61 (or the attack sound waveform memory 62).

The read signal data s61 (or s62) is interpolated by the interpolation unit 56 in accordance with the fractional address unit corresponding to the pitch output from the current address counter 53, and then output as a pulse output.

Fig. 7 is a block diagram showing a detailed circuit configuration of the all-pass filter 37 of fig. 4. The output s36 from the delay circuit 36 of the preceding stage is input to the subtractor 71. The subtractor 71 subtracts, as a subtraction number, the waveform data before 1 sampling period output from the amplifier 72, and outputs the resultant difference data to the delay holding unit 73 and the amplifier 74. The amplifier 74 outputs the output data attenuated according to the chord length delay Pt _ f to the adder 75.

The delay holding unit 73 holds the transmitted output data, delays the output data by an amount of 1 sampling period (Z-1), and outputs the delayed output data to the amplifier 72 and the adder 75. The amplifier 72 outputs the output data attenuated by the chord length delay Pt _ f to the subtractor 71 as a subtraction number. The sum output of the adder 75 is output to the low-pass filter 38 of the subsequent stage as output data s37 delayed by a time (1 wavelength time) determined by the input note number information (pitch information) in accordance with the delay operation in the delay circuit 36 of the preceding stage.

Fig. 8 is a block diagram showing a detailed circuit configuration of the low-pass filter 38 of fig. 4. The delayed output data s37 from the all-pass filter 37 of the preceding stage is input to the subtractor 81. The subtractor 81 is supplied with the output data of the amplifier 82 having the cutoff frequency Fc or higher as a subtraction number, and calculates the output data of the low frequency side smaller than the cutoff frequency Fc as a difference thereof, and outputs the calculated output data to the adder 83.

The output data before 1 sampling period output by the delay holding unit 84 is also input to the adder 83, and the sum of the output data is output to the delay holding unit 84. The delay holding unit 84 holds the output data sent from the adder 83, delays the output data by 1 sampling period (Z-1), and outputs the output data as the output data s38 of the low-pass filter 39, as well as the output data to the amplifier 82 and the adder 83.

As a result, the low-pass filter 38 passes waveform data on the low frequency side of the cutoff frequency Fc for wide-range attenuation set for the frequency of the chord length, and outputs the waveform data to the amplifier 39 and the delay holder 40 in the subsequent stage.

In the closed-loop circuit, since the output data repeatedly passes and the removing ability of the low-pass filter 38 is improved, a frequency having a generally higher value is often used as the cutoff frequency Fc to be supplied to the amplifier 82.

[ actions ]

Next, the operation of the embodiment will be described.

Fig. 9 is a flowchart showing the processing contents when the damper pedal 12 is depressed, the CPU13A receives the damper off signal s12, and the CPU13A outputs various signals indicating the damper off of the 12 notes and the 1-octave scale amount in the lowest pitch range to the note event processing unit 31.

At the beginning of the processing, the CPU13A searches for a channel number that is an idle channel among the string-note model channels 63 of 32 channel amounts in accordance with the performance state at that point in time (step S101).

In addition to the channel number which becomes the free channel, the following channels may be searched as free channels: a channel in which, of the channels generating musical tones at this point in time, the peak value of the channel output data s63 indicating the sound pressure of the generated musical tone does not reach a predetermined threshold value; and a channel in which the value of the wave height of the channel output data s63 is lower than a predetermined ratio than the wave height of the channel output data s63 indicating the sound pressure of the highest musical sound at that time point.

Next, the CPU13A searches for the use status in the string sound model channel 63 and collects information on the number of the note that is pressed at the keyboard portion 11 at that point in time (step S102).

Next, the CPU13A starts damper off control of 1 octave amount of a0 to G1# of the lowest register and 12 notes (step S103).

Then, the CPU13A determines whether there is an idle channel that does not generate a tone among the 32 channels at that point in time (step S104).

Here, when it is determined that there is an idle channel (yes in step S104), the CPU13A then determines whether or not the processing for the 1 octave and 12 note amount for the a0 to G1# in the lowest register is finished (step S105).

When determining that the processing for the 1-octave amount for the lowest scale has not been completed (no in step S105), the CPU13A determines whether or not the lowest note of a0 is pressed on the keyboard unit 11 after first selecting the note as the determination target (step S106).

If it is determined that the note is not pressed (no in step S106), the CPU13A assigns the note to an idle channel and starts a process of generating a resonance sound of a musical tone as a damper off for the channel (step S107).

Then, after setting the processing object to move the 1 note upward (step S108), the process returns to the process from step S104.

In step S106, if the keyboard unit 11 determines that the note is pressed (yes in step S106), it is considered that the damper-off processing for the note has been executed, and the CPU13A sets the processing object to be moved up by 1 note (step S109) after skipping the additional processing for the note (step S109), and then returns to the processing from step S104.

In this way, the processing of steps S107, S108, or the processing of step S109 is executed with the note of 12 in the lowest register and the 1-octave amount.

In step S104, in the case where it is determined that there is no idle channel in which no musical tone is generated (no in step S104), and in the case where it is determined in step S105 that the processing for the 1-octave amount of the lowest register is ended (yes in step S105), the CPU13A ends the processing in fig. 9 at this point in time.

Next, fig. 10 is a flowchart showing the processing contents when the state is returned from the state where the damper pedal 12 is depressed, the CPU13A receives the damper on signal s12, and the CPU13A outputs various signals instructing the damper on to the note event processing unit 31.

At the beginning of the process, the CPU13A retrieves the usage status in the chord tone model channel 63 and collects information of the number of notes in the key at that point in time (step S201).

Next, the CPU13A starts damper on control of 1 octave amount of a0# to G1# of the lowest register and 12 notes (step S202).

Then, it is determined whether the processing for 1 octave of a0 to G1# and 12 notes of the lowest scale is finished or not, according to the state of 1 of the 12 notes of the lowest scale, first, the note of the lowest a0 among them being selected (step S203).

If it is determined that the processing for the 1-octave amount for the lowest pitch range is not completed (no in step S203), the CPU13A determines whether or not the note of the lowest pitch range selected at that point in time is on the key (step S204).

If it is determined that the note is pressed on the keyboard 11 (yes in step S204), the CPU13A sets the processing object to be moved up by 1 note after skipping the additional processing for the note (step S205), and then returns to the processing from step S203.

In this way, if the 1 octave amount and 12 notes of a 0-G1 # in the lowest register are pressed, the process of step S205 is repeatedly executed to maintain the state where the dampers are off.

If it is determined in step S204 that the note is not pressed by the keyboard unit 11 among the 12 notes in the lowest pitch range (no in step S204), the CPU13A sequentially sends a signal for turning on the dampers from the note in the lowest pitch range to the corresponding string-tone model channels 63, and performs a process of attenuating the resonance sound (step S206).

Then, after setting the processing object to move the 1 note upward (step S207), the processing returns to the processing from step S203.

If it is determined in step S203 that the processing for the 1-octave amount for the lowest scale has ended (yes in step S107), the CPU13A ends the processing in fig. 10 at this point in time.

Next, a configuration in which the waveform data of the string sound and the waveform data of the attack sound are added and combined will be described with reference to fig. 11 to 14.

Fig. 11 is a diagram illustrating a spectrum of a musical tone generated in a case where a note of a certain pitch f0 produced by an acoustic piano is pressed. As shown in the figure, the frequency spectrum is composed of a string sound in which a peak-like fundamental sound f0 is connected to overtones f1, f2, … thereof, and striking sounds generated in gap portions XI, … of these peak-like string sounds. In the present embodiment, signal data of the waveform of a string sound and signal data of the waveform of a percussion sound are separately generated and added and synthesized, thereby generating tone data of a more natural piano.

Fig. 12 is a diagram illustrating a frequency spectrum of a striking sound obtained by removing a waveform component of a chord sound from the frequency spectrum of fig. 11. The signal data of the attack sound having such a waveform is stored in the attack sound waveform memory 62, and as shown in fig. 5, read out in the attack sound generation path 64 by the waveform reading section 91.

On the other hand, as shown in fig. 13, signal data of a string sound having a spectrum in which a peak-like fundamental tone f0 is connected to harmonics f1, f2, and … thereof is stored in the excitation signal waveform memory 61, and as shown in fig. 4, is read out in the string sound model channel 63 by the waveform readout unit 32.

Fig. 14 is a diagram showing a specific example of waveforms of musical tones of a piano, which are added and synthesized with waveforms of musical tones constituting the piano. By additively combining the output data s66a of the chord having the frequency spectrum shown in fig. 14(a) and the output data s66B of the attack having the frequency spectrum shown in fig. 14(B), it is possible to generate tone data s69 of an approximate natural piano, which is extremely close to the tone of an acoustic piano, as shown in fig. 14 (C).

In addition, the addition ratio when actually adding the string sound and the attack sound will be described.

While a string sound is a sound generated from the physical basic characteristics of a string of a piano, the hitting sound defined in the present embodiment includes various elements including a collision sound when a hammer collides with a string inside the piano, an operation sound of the hammer, a key striking sound of a finger of a pianist, a sound when a keyboard collides with a stopper and stops, and other sound components except a component of a pure string sound, as described above.

The addition ratio of the string sounds to the attack sounds varies depending on the sound to be synthesized, the kind of piano, the distance from the assumed piano, and the like.

For example, a case where a larger percussion can be heard is a case where it is heard from a position closer to the performance of the piano, so in the case where the distance from the piano is set to be short, the addition ratio of the percussion is increased, and conversely, in the case where the distance from the piano is set to be heard, the addition ratio of the percussion is decreased.

For example, when a resonance sound is generated in a state where the damper pedal 12 is not depressed, that is, when a resonance sound having only a string resonance without a damper resonance is generated, the addition ratio of the striking sounds is reduced as a sound close to a pure sound, whereas when a resonance sound is generated in a state where the damper pedal 12 is depressed, a sound having a wide frequency band in which the entire resonance sound is excited by the striking sounds is generated as a sound having a damper resonance, a setting for increasing the addition ratio of the striking sounds may be considered.

In contrast to an actual acoustic piano in which the sound of strings is amplified by a bridge soundboard and output to the outside of the piano, the strings resonate with each other mainly through the bridge, and therefore, unlike the sound of strings sounded by a soundboard, the component of the struck sound of the resonance sound is large and is different from the type, model, and the like of the piano.

Therefore, in the present embodiment, the components of the bridge transmission sound for resonance are configured to be able to be synthesized at a ratio different from the synthesized sound of the piano.

Thus, the following structure is achieved: specifically, the sound quality of the generated resonance sound can be adjusted by changing the amplification factor (attenuation factor) of each amplifier according to the type and model of the piano and the preference of the user.

Finally, a principle structure of damper resonance, which is a resonance sound generated when the damper pedal 12 is depressed again, will be described.

Fig. 15 illustrates the relationship among the waveforms of overtones 1 octave higher as shown in fig. 15(B), overtones 2 octaves higher as shown in fig. 15(C), and overtones 3 octaves higher as shown in fig. 15(D) with respect to the fundamental tones shown in fig. 15 (a).

For example, the overtones of the strings having the same pitch name include all of the overtones, such as C0, C1, C2, and …. Therefore, when the damper pedal 12 is depressed, the resonance sound is generated by the 1-octave amount and the 12-note of the lowest register, and the resonance sound including the overtones of all the registers can be generated.

As described above in detail, according to the present embodiment, favorable damper resonance can be generated.

In the present embodiment, since the damper resonance sound is generated based on a plurality of continuous notes in the lowest pitch range, a finer damper resonance sound including these fundamental tones and overtones can be obtained.

In this regard, in the present embodiment, in particular, since the damper resonance sound is generated by the 1 octave and 12 note amount in the lowest pitch range, it is possible to generate a resonance sound sufficiently similar to the original damper resonance sound including all the pitches by the fundamental tone and the overtones.

In the present embodiment, since the musical tone signals of the string sounds and the musical tone signals of the percussion sounds are feedback-inputted, more natural musical tones of a string-playing instrument such as an acoustic piano can be generated.

When the note of the lowest pitch range is assigned to the model channel of the chord tone, the notes on the bass side where more overtones exist in the audible frequency range are assigned to the idle channels in order, and therefore, the assignment of the channels can be performed efficiently.

In addition, although the description has been given in the present embodiment, in addition to the idle channel, a channel in sound emission smaller than a preset sound pressure, or the like, may be regarded as a virtual idle channel as an object to which a note of the lowest pitch range is assigned, and a channel of a sound source can be effectively used in consideration of a masking effect.

In the present embodiment, the channel in sound generation is assigned to a new note without being associated with a key at that point in time, so that the assignment process to the channel can be efficiently performed without disturbing the musical sound in sound generation.

In the present embodiment, when the key is pressed in the note in the lowest pitch range, it is assumed that the damper off process corresponding to the note has been performed and the assignment process to the channel is skipped, and therefore the assignment process to the channel can be efficiently performed.

Further, in the present embodiment, since the plurality of channels for generating the string sounds and the percussion sounds are provided in addition to the plurality of channels for generating the string sounds and the percussion sounds are added and synthesized to generate the musical tone signal, it is possible to set not only musical tones of string-beating musical instruments such as acoustic pianos, but also musical tones generated in consideration of the model of the musical instrument, the position of the musical instrument, the distance and positional relationship between a person who listens to the musical tones, favorite tones, and the like, and it is possible to enjoy musical performance with higher degree of freedom of setting.

In this case, the musical tone signal of the attack sound does not have peak characteristics in an octave period like the musical tone signal of the chord sound, but is provided as a waveform varying between these peak characteristics, so that processing of differences in the ratio, characteristics, and the like between the chord sound and the attack sound becomes easy.

In the present embodiment, by configuring the plurality of channels of the sound source generating the string sounds to be common, it is possible to efficiently assign the channels even when musical tones of acoustic pianos different in the number of string sounds generated per 1 channel due to the pitch range of the note are generated.

In the present embodiment, the negative feedback of the musical tone signal of the string sound by the closed-loop circuit is adopted, so that the resonance sound can be efficiently generated with a small circuit scale.

In the present embodiment, since the musical tone signal of a chord tone obtained by subtracting the output of the closed-loop circuit of the channel is negatively fed back in each closed-loop circuit based on the addition result of the musical tone signals of the chord tones, it is possible to generate a resonance tone while suppressing abnormal oscillation without increasing the circuit scale.

As described above, the present embodiment has been described in the case of being applied to an electronic keyboard instrument, but the present invention is not limited to a musical instrument or a specific model.

The present invention is not limited to the above-described embodiments, and various modifications can be made in the implementation stage without departing from the spirit and scope thereof. In addition, the respective embodiments may be combined as appropriate as possible, and in this case, the combined effect can be obtained. Further, the invention in various stages is included in the above embodiment, and various inventions can be extracted by appropriate combinations of a plurality of disclosed structural elements. For example, even if some of the constituent elements shown in the embodiments are deleted, the problems described in the problem section to be solved by the invention can be solved, and when the effects described in the invention effect section can be obtained, the structure from which the constituent elements are deleted can be extracted as the invention.