1. An electronic musical instrument, comprising:

a plurality of performance operating members (11) each designating a pitch; and

at least 1 processor (13C),

the at least 1 processor (13C),

obtaining chord tone data including a fundamental tone component and an overtone component corresponding to the specified pitch,

obtaining percussive sound waveform data including components other than the fundamental component and the overtone component, but not the fundamental component and the overtone component corresponding to the specified pitch,

and synthesizing (45) the chord tone data and the percussion tone data corresponding to the percussion tone waveform data at a set ratio.

2. The electronic musical instrument according to claim 1,

the number of the at least 1 processor is,

inputting excitation signal waveform data corresponding to the designated pitch into a closed loop (s 35-s 41) including a process of delaying a time (36) determined according to the designated pitch,

acquiring the string sound data outputted (s35) by the closed loop (s 35-s 41) according to the input.

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

has a memory in which excitation signal waveform data and the attack sound waveform data are stored,

outputting the chord tone data from a chord tone model channel including a closed loop according to the input of the excitation signal waveform data acquired from the memory to the chord tone model channel,

outputting the percussive sound data from the percussive sound generation channel according to the input of the percussive sound waveform data acquired from the memory to the percussive sound generation channel.

4. The electronic musical instrument according to claim 3,

the number of the excitation signal waveform data stored in the memory is larger than the number of the percussion sound waveform data stored in the memory.

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

the number of the at least 1 processor is,

detects the damper off indicating that the damper pedal is depressed,

the string sound data and the attack sound data are synthesized at a ratio set such that the synthesis ratio of the attack sound data becomes higher in a case where the damper-off is detected than in a case where the damper-off is not detected.

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

the at least 1 processor synthesizes the chord data and the percussive data at a ratio set such that a synthesis ratio of the percussive data becomes higher in a case where a second pitch higher than the first pitch is specified, as compared with a case where the first pitch is specified.

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

the string sound data does not include components other than the fundamental component and the overtone component.

8. An electronic keyboard instrument, comprising:

a keyboard (11) for designating pitches, respectively;

a tone selection operation member; and

at least 1 processor (13C),

the at least 1 processor (13C),

obtaining chord tone data including a fundamental tone component and an overtone component corresponding to the specified pitch,

obtaining percussive sound waveform data including components other than the fundamental component and the overtone component, but not the fundamental component and the overtone component corresponding to the specified pitch,

the chord tone data and the percussion tone data corresponding to the percussion tone waveform data are synthesized at a rate set according to the operation of the tone color selection operating member.

9. The electronic musical instrument according to claim 8,

the string sound data does not include components other than the fundamental component and the overtone component.

10. A musical tone generating method, wherein,

at least 1 processor (13C) of the electronic musical instrument,

obtaining chord tone data including a fundamental tone component and an overtone component corresponding to the specified pitch,

obtaining percussive sound waveform data including components other than the fundamental component and the overtone component, but not the fundamental component and the overtone component corresponding to the specified pitch,

and synthesizing (45) the chord tone data and the percussion tone data corresponding to the percussion tone waveform data at a set ratio.

11. The tone generation method according to claim 10, wherein,

the number of the at least 1 processor is,

inputting excitation signal waveform data corresponding to the designated pitch into a closed loop (s 35-s 41) including a process of delaying a time (36) determined according to the designated pitch,

acquiring the string sound data outputted (s35) by the closed loop (s 35-s 41) according to the input.

12. The tone generation method according to claim 10 or 11, wherein,

the number of the at least 1 processor is,

outputting the chord tone data from a chord tone model channel including a closed loop according to an input of the excitation signal waveform data to the chord tone model channel,

outputting the percussive sound data from the percussive sound generation channel according to the input of the percussive sound waveform data acquired from the memory to the percussive sound generation channel.

13. The tone generation method according to any one of claims 10 to 12, wherein,

the number of the at least 1 processor is,

detects the damper off indicating that the damper pedal is depressed,

the string sound data and the attack sound data are synthesized at a ratio set such that the synthesis ratio of the attack sound data becomes higher in a case where the damper-off is detected than in a case where the damper-off is not detected.

14. The tone generation method according to any one of claims 10 to 13, wherein,

the at least 1 processor synthesizes the chord data and the percussive data at a ratio set such that a synthesis ratio of the percussive data becomes higher in a case where a second pitch higher than the first pitch is specified, as compared with a case where the first pitch is specified.

15. The tone generation method according to any one of claims 10 to 14, wherein,

the string sound data does not include components other than the fundamental component and the overtone component.

16. A musical tone generating method, wherein,

at least 1 processor (13C) of the electronic keyboard instrument,

obtaining chord tone data including a fundamental tone component and an overtone component corresponding to the specified pitch,

obtaining percussive sound waveform data including components other than the fundamental component and the overtone component, but not the fundamental component and the overtone component corresponding to the specified pitch,

the chord tone data and the percussion tone data corresponding to the percussion tone waveform data are synthesized at a rate set according to an operation of a tone color selection operator.

17. The tone generation method according to any one of claims 10 to 14, wherein,

the string sound data does not include components other than the fundamental component and the overtone component.

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 musical instrument according to an embodiment of the present invention includes:

a plurality of performance operating members which respectively specify pitches; and

at least one of the number of the processors is 1,

the number of the at least 1 processor is,

obtaining chord tone data including a fundamental tone component and an overtone component corresponding to the specified pitch and not including components other than the fundamental tone component and the overtone component,

obtaining percussive tone waveform data including components other than the fundamental tone component and the overtone component, but not including the fundamental tone component and the overtone component corresponding to the designated pitch,

the chord tone data and the percussion tone data corresponding to the percussion tone waveform data are synthesized at a set ratio.

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

a keypad for designating pitches, respectively;

a tone selection operation member; and

at least one of the number of the processors is 1,

the number of the at least 1 processor is,

obtaining chord tone data including a fundamental tone component and an overtone component corresponding to the specified pitch,

obtaining percussive sound waveform data including components other than the fundamental component and the overtone component, but not the fundamental component and the overtone component corresponding to the specified pitch,

the chord tone data and the percussion tone data corresponding to the percussion tone waveform data are synthesized at a rate set according to the operation of the tone color selection operating member.

A tone generation method of an embodiment of the present invention, wherein,

at least 1 processor of the electronic keyboard instrument,

obtaining chord tone data including a fundamental tone component and an overtone component corresponding to the specified pitch,

obtaining percussive sound waveform data including components other than the fundamental component and the overtone component, but not the fundamental component and the overtone component corresponding to the specified pitch,

the chord tone data and the percussion tone data corresponding to the percussion tone waveform data are synthesized at a rate set according to an operation of a tone color selection operator.

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 showing a conceptual configuration of basic signal processing performed by the sound source DSP according to this embodiment.

Fig. 3 is a diagram illustrating the principle of generating waveform data of a chord tone by an excitation pulse according to this embodiment.

Fig. 4 is a diagram illustrating the frequency spectrums of the fundamental tone and the overtone of the chord tone of the embodiment.

Fig. 5 is a diagram illustrating a frequency spectrum of the attack sound of this embodiment.

Fig. 6 is a diagram illustrating a spectrum of a musical sound of the embodiment.

Fig. 7 is a diagram showing a specific example of waveform data of a piano tone after addition-synthesis with each waveform data of tones constituting a piano in the embodiment.

Fig. 8 is a block diagram illustrating a functional configuration of a hardware circuit of each sound source channel including a chord tone and an attack tone at the installation level according to this embodiment.

Fig. 9 is a block diagram showing a signal processing configuration of a channel mainly of the chord tone model according to the embodiment.

Fig. 10 is a block diagram showing a signal processing structure of mainly the attack sound generation path in the embodiment.

Fig. 11 is a block diagram showing a circuit configuration of the waveform reading unit according to this embodiment.

Fig. 12 is a block diagram showing a detailed circuit configuration of the all-pass filter of fig. 9 according to this embodiment.

Fig. 13 is a block diagram showing a detailed circuit configuration of the low-pass filter of fig. 9 according to this embodiment.

Fig. 14 is a diagram illustrating a mapping structure of waveform data of an excitation pulse and a attack of a chord read out in accordance with a note and a velocity of a pressed key, and level changes of the generated chords and attacks, according to this embodiment.

Fig. 15 is a flowchart showing the processing contents of the case where the preset tone color is selected and the case where the change of the ratio of the current tone color, chord tone, and attack tone is operated according to the embodiment.

Fig. 16 is a flowchart showing the contents of each process in the case of pressing a key and in the case of releasing the key according to the embodiment.

Fig. 17 is a flowchart showing the contents of the respective processes in the on (on) operation and the off (off) operation of the damper pedal according to the embodiment.

Fig. 18 is a block diagram illustrating another functional configuration of the hardware circuit of the sound source channel for generating a chord tone and a striking tone at the installation level according to this embodiment.

Detailed Description

An embodiment in the case of applying the present invention to an electronic musical instrument will be described in detail 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 on/off of a damper 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 out waveform data of an excitation signal for generating a required chord sound from the ROM15 based on parameters supplied from the CPU13A, adds the waveform data to processing in a closed-loop circuit, and synthesizes outputs of the closed-loop circuits to generate waveform data of the chord sound.

The sound source DSP13C reads waveform data of a striking sound different from a string sound from the ROM15, and generates striking sound waveform 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 waveform 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 showing a conceptual configuration of basic signal processing performed by the sound source DSP 13C. As shown in fig. 2, waveform data of a chord tone is generated by a closed loop circuit of a physical model including an adder 21, a delay circuit 23, a Low Pass Filter (LPF)24, and an amplifier 22, and waveform data of an attack tone generated from a PCM sound source described later is added by an adder 25, and the sum is output as integrated musical tone data.

The adder 21 adds waveform data of a string sound based on an excitation pulse signal, which will be described later, read from the ROM15 to a feedback input signal of the output of the amplifier 22, and outputs the sum to the delay circuit 23.

The delay circuit 23 sets a delay time corresponding to the pitch of the assigned note by the length of the string, and outputs the delayed signal to the low-pass filter 24. The low-pass filter 24 passes the low-frequency component according to the set cutoff frequency, thereby generating a temporal change in the sound quality of a string sound, and the passed output is waveform data of the string sound and is output to the adder 25 and the amplifier 22. The amplifier 22 supplies attenuation corresponding to the supplied feedback value to the waveform data of the chord tone and feeds back the attenuation to the adder 21.

As described above, waveform data of a chord tone is generated by a physical model using a closed-loop circuit, while waveform data of an attack tone which cannot be continuously generated is generated by a PCM sound source and added by the adder 25, thereby being supplemented, and good and natural musical tone data is generated.

Fig. 3 is a diagram illustrating the principle of generating waveform data of a chord tone by an excitation pulse.

Fig. 3(a) shows a process of attenuating from the beginning of generation of a tone of a piano. Fig. 3(B) shows waveform data at the beginning of a musical sound generation, i.e., immediately after the strings start to vibrate. Fig. 3(C) illustrates a waveform obtained by extracting only 2 to 3 wavelengths from the waveform shown in fig. 3(B) and then performing windowing processing by multiplying the extracted waveform by a window function such as a hanning window. This uses the waveform data as an excitation signal. In the electronic keyboard instrument of the present invention, the user can obtain the excitation signal corresponding to the note number (pitch of the key to be pressed) and the velocity value (velocity of the key press) from the sound source LSI13 regardless of which key is pressed with which intensity, and the method of implementing the method is not limited.

The obtained excitation signal is input to a corresponding or determined string sound model channel 63 among a plurality of string sound model channels 63 described later, and a string sound is generated.

Fig. 4 is a diagram illustrating a spectrum of a chord tone generated by the above-described generation method. As shown, the spectrum with a peaked fundamental f0 connected to its overtones f1, f2, ….

Also, by subjecting the waveform data of the string sounds of the spectrum as described above stored in the ROM15 to a process of shifting the frequency components of the fundamental f0 and the harmonic overtones f1, f2, and …, it is possible to generate waveform data of a plurality of string sounds of different pitches.

The chord sounds that can be generated by the physical model as described above do not include components other than the fundamental component and the overtones, as shown in fig. 4. On the other hand, the musical tones generated in the original musical instrument include musical tone components to be referred to as percussion tones, which characterize the musical tone characteristics of the musical instrument. Therefore, in the electronic musical instrument, it is preferable to generate the percussion sound to be synthesized with the string sound.

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.

When generating a percussion sound, waveform data of a recorded musical sound is first windowed by a window function such as a hanning window, and then transformed into data in a frequency dimension by FFT (fast fourier transform).

The converted data is subjected to arithmetic processing in which the frequencies of the fundamental tone and the overtone are determined based on data observable from the recorded waveform, such as pitch information of the recorded waveform data, the removed overtone, and the deviation amount between the overtone frequency and the fundamental tone, and the amplitude of the resulting data of these frequencies is 0, thereby removing the frequency component of the chord tone.

For example, when the fundamental tone frequency is 100[ Hz ], the frequencies of the frequency components of the string sounds removed by multiplying the fundamental tone frequency by a multiplier 0 are 100[ Hz ], 200[ Hz ], 400[ Hz ], 800[ Hz ] …

Here, although the harmonic overtones are exactly integer multiples, the frequencies are slightly shifted in an actual musical instrument, and therefore, the harmonic overtones observed from waveform data obtained by recording can be used to more appropriately cope with this.

Then, the data from which the frequency components of the string sounds have been removed is converted into time-dimensional data by IFFT (inverse fast fourier transform), thereby generating waveform data of the impact sound.

Fig. 5 is a diagram illustrating a spectrum of a musical tone of a striking tone. Waveform data of the attack sound having such a spectrum is stored in the ROM 15.

A musical tone of the frequency spectrum shown in fig. 6 is generated by additively combining the waveform data of the attack sound of fig. 5 and the waveform data of the chord sound generated from the physical model shown in fig. 4.

That is, fig. 6 is a diagram illustrating a spectrum of a musical tone generated in a case where a note of a piano of a pitch f0 is pressed. As shown in the drawing, by synthesizing the string sounds to which the peak-shaped fundamental f0 is connected to the overtones f1, f2, … thereof and the attack sounds generated by the gap portions VI, … of these peak-shaped string sounds, the musical tones of the acoustic piano can be reproduced.

Fig. 7 is a diagram showing a specific example of waveform data of a musical tone of a piano, which is added and synthesized with waveform data of musical tones constituting the piano. Waveform data of a chord tone having the spectrum shown in fig. 7(a) is generated by the physical model, while waveform data of a attack tone having the spectrum shown in fig. 7(B) is read from the PCM sound source. By adding and combining these, a natural piano tone as shown in fig. 7(C) can be generated.

Fig. 8 is a block diagram illustrating the functional configuration of the entire hardware circuit at the mounting level of the sound source DSP13C including each sound source channel of the chord tone and the attack tone.

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, waveform data s61 of an excitation signal for a string sound is read from the excitation signal waveform memory 61 in accordance with the note-on signal, and channel waveform 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 input to the adder 69 as waveform data s65A of a chord tone attenuated by the amplifier 66A in accordance with the level of the chord tone from the CPU 13A.

The waveform 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 waveform data s62 of the impact is read from the impact waveform memory 62 by the note-on signal, and the channel waveform 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 waveform data s65B as the attack sound is attenuated by the amplifier 66B according to the attack sound level from the CPU13A as the addition result synthesized by the adder 65B, and then input to the adder 69.

Further, the waveform 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 waveform data s66A of the chord tone input via the amplifier 66A and the waveform data s66B of the attack tone input via the amplifier 66B by addition processing, and outputs the synthesized tone data s 69.

The sum ratio of the string tone and the attack tone, which is the signal s13a1 indicating the string tone level of the specified attenuation rate output from the CPU13A to the amplifier 66A and the signal s13a2 indicating the attack tone level of the specified attenuation rate output to the amplifier 66B, 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 a sound generated by the bridge (bridge) of the piano string, the soundboard, and the whole body, and there is a difference in sound quality between the resonance sound emitted by the bridge, which is a main transmission path of the resonance between the strings. Therefore, the difference can be adjusted. In general, if a setting is made such that the component of the struck sound is large, the sound transmitted in the bridge transmission path can generate the damper resonance sound as 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, in which the damper pedal 12 is not depressed, a sound close to a pure sound is generated as the resonance sound, and therefore, a setting in which the striking sound is set to be small 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. 9 is a block diagram mainly showing a detailed circuit configuration of the string-tone model channel 63 of fig. 8. In fig. 9, 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. 9, 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 waveform data s61 of the excitation signal subjected to the window-doubling (window-doubling processing) from the excitation signal waveform memory 61 and outputs the waveform data to the amplifier 34. The amplifier 34 adjusts the level of the excitation signal waveform data s61 by the attenuation amount corresponding to the velocity signal s312 from the note event processing unit 31, and outputs the adjusted level to the adder 35.

Further, the adder 35 receives waveform data s41 obtained by adding the chord tone and the attack tone as a sum output from the adder 41, and outputs the sum output obtained as the result of the addition as channel waveform 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 in the acoustic piano (for example, 20 in the case of a high-pitched key and 2000 in the case of a low-pitched key), delays the channel waveform 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 waveform 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, since the delay circuit 36 and the all-pass filter 37 constitute the delay circuit 23 in fig. 2, a time (1 wavelength time) determined based on the note number information (pitch information) is delayed.

The low-pass filter 38 corresponds to the low-pass filter 24 of fig. 2, and 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 data to the amplifier 39 and the delay holder 40.

The amplifier 39, that is, the amplifier 22 of fig. 2 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 is set 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 waveform data to the subtractor 44 as a subtraction number.

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

The adder 45 receives the waveform data s68B of the attack sound from the amplifier 68B, and the sum of these pieces of waveform data s45 is supplied to the amplifier 43. The amplifier 43 performs attenuation processing based on a signal s42, and outputs the waveform data s43 after the attenuation processing to the adder 41, and the signal s42 is supplied from the envelope generator 42 and indicates a 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 section 31.

The adder 41 adds waveform data s39 of its own string model, which is the output of the amplifier 39, and waveform data s43 of resonance sounds of the entire string sounds and the attack sounds, which are the outputs of the amplifier 43, and supplies the waveform 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, before sound generation starts, 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 ] to the all-pass filter 37, the cutoff frequency Fc [ n ] of the low-pass filter 38, the feedback amount signal s313 to the amplifier 39, and the resonance value signal s314 to the envelope generator 42 are set to predetermined levels, respectively.

When the sound emission start signal s311 is input to the waveform reading unit 32, the waveform data s34 of the excitation signal 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 amount 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 above-described series of parameters at the time of 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 waveform 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 depression state, the waveform data s68a of the string sound or the waveform data s68b of the impact sound is input to excite 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, thereby generating a resonance sound.

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 processing operation of the waveform data (s63) of all channels is fixed to 3 strings in advance and unified in advance, the program configuration of the processing and the circuit configuration of the hardware are simplified, and the dynamic change of the string configuration is not necessary.

This is for the same reason as follows: when the resonance sound is generated by the depression of the damper pedal 12, the waveform data of the unnecessary striking sound is allowed to be input when the key corresponding to the 12 note of the lowest pitch range is not pressed in each channel 63 corresponding to the 12 note of the lowest pitch.

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, the control can be performed at the stage of starting the processing of the sound emission output excitation signal data, and the processing can be easily handled by setting to cancel a subtle pitch difference indicating the pitch (course) of the string.

Note that, when the operation of the static allocation method of preparing 88 the amount of notes in the string model and allocating the notes fixedly is performed, for example, the operation is not limited to this.

Fig. 10 is a block diagram mainly showing a detailed circuit configuration of the striking sound generation passage 64 of fig. 8. 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 supplies a note on/off signal s13a5 from the CPU13A, sends a sound emission control signal s315 to the waveform readout unit 91, sends a signal s317 indicating note on/off and velocity to the Envelope Generator (EG)42, and sends a signal s316 indicating a cutoff frequency Fc corresponding to the velocity to the Low Pass Filter (LPF) 92.

The waveform reading unit 91 that receives the sound emission control signal s315 from the note event processing unit 31 reads the instructed waveform data s62 from the attack sound waveform memory 62(ROM15) that stores the waveform data s62 of the attack sound as the PCM sound source, and outputs the read waveform 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, supplies a change in tone color according to the velocity, and outputs the waveform data s62 of the attack sound to the amplifier 93.

The amplifier 93 performs a volume adjustment process based on a signal, which is supplied from the envelope generator 42 and indicates the volume corresponding to the stage of ADSR that changes with time in correspondence with the velocity value from the note event processing section 31, and outputs the channel waveform data s93(s64) of the processed attack tone to the adder 65B at the subsequent stage.

As shown in fig. 8, the channel waveform 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. 11 is a block diagram showing a common circuit configuration of the waveform reading unit 32 for reading the excitation signal waveform data s61 of a chord in the chord model channel 63 of fig. 9 and the waveform reading unit 91 for reading the impact sound waveform data s62 in the impact generation channel 64 of fig. 10.

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 waveform 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 excitation signal waveform data s61 (or attack sound waveform 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 waveform 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. 12 is a block diagram showing a detailed circuit configuration of all-pass filter 37 in fig. 9. 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 waveform data that is the difference to the delay holding unit 73 and the amplifier 74. The amplifier 74 outputs the waveform data attenuated according to the chord length delay Pt _ f to the adder 75.

The delay holding unit 73 holds the transmitted waveform data, delays the waveform data by an amount of 1 sampling period (Z-1), and outputs the waveform data to the amplifier 72 and the adder 75. The amplifier 72 outputs the waveform data attenuated according to the chord length delay Pt _ f to the subtractor 71 as a decrement. The sum output of the adder 75 is transmitted to the low-pass filter 38 of the subsequent stage as waveform 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. 13 is a block diagram showing a detailed circuit configuration of the low-pass filter 38 of fig. 9. The delayed waveform data s37 from the all-pass filter 37 at the preceding stage is input to the subtractor 81. The subtraction unit 81 is supplied with the waveform data of the cutoff frequency Fc or more output from the amplifier 82 as a subtraction number, calculates the waveform data of the low frequency side smaller than the cutoff frequency Fc as the difference, and outputs the calculated waveform data to the adder 83.

The waveform data before 1 sampling period output from the delay holding unit 84 is also input to the adder 83, and the waveform data that is the sum of the waveform data is output to the delay holding unit 84. The delay holding unit 84 holds the waveform data sent from the adder 83, delays the waveform data by 1 sampling period (Z-1), and outputs the waveform data as the waveform data s38 of the low-pass filter 39 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 waveform data repeatedly passes and the removal capability of the low-pass filter 38 is improved, a frequency having a generally increased 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. 14 is a diagram illustrating a mapping structure of waveform data of an excitation pulse of a string sound and a attack sound, which is read according to a note and a velocity of a key pressed in the keyboard portion 11, and a level change according to a time of the generated string sound and attack sound.

Fig. 14(a) shows a process of determining the read addresses of the memories of the waveform data of the excitation pulse and the striking sound of the string sound when the note of C3, for example, is pressed at mf (mezzo form) speed in the keyboard 11.

As shown in (a-1) of fig. 14(a), the excitation pulses of the chord tones stored in the excitation signal waveform memory 61 correspond to the musical notes and 3 levels of velocity: f (forte)/mf (mezzo forte)/p (pinano), and waveform data of an excitation pulse of a chord tone corresponding to a memory address corresponding to a key is read. The musical note is, for example, waveform data divided into 44 levels corresponding to 48 musical notes, and the pitch of the read waveform data is appropriately adjusted in accordance with the musical note that is pressed.

On the other hand, as shown in (a-2) of fig. 14(a), the waveform data of the impact sound stored in the impact sound waveform memory 62 is prepared in correspondence with the velocity "f (note)/mf (mezzo note)/p (piano)" of 3 levels similar to the note, and the waveform data of the impact sound at the memory address "mf 4" corresponding to the key is read. Note, for example, waveform data of 1 striking note is shared among adjacent 5 notes, and the pitch of the read waveform data is appropriately adjusted according to the note to be pressed.

The higher the level number of waveform data in which both the chord tone and the attack tone are in accordance with the note and the tempo, the higher the sound quality, but the memory capacity required for the excitation signal waveform memory 61 and the attack tone waveform memory 62 is increased.

In the present embodiment, waveform data of short excitation pulses obtained by performing window-multiplication processing (window-multiplexing processing) on a chord tone by 2 to 3 wavelengths is stored in an excitation signal waveform memory 61 and excited by a closed-loop circuit, thereby generating a musical tone of the chord tone, while an attack tone is a tone obtained by directly converting the waveform data stored in an attack tone waveform memory 62 into a musical tone as a PCM sound source.

Therefore, the capacity of each waveform data which should be stored in the excitation signal waveform memory 61 and the attack sound waveform memory 62, respectively, is significantly smaller than the waveform data of the excitation pulse of the string sound stored in the excitation signal waveform memory 61. Therefore, as shown in fig. 14(a), it is considered appropriate to set the waveform data of the excitation pulse of the string sound to be finer and to increase the number of levels, and to reduce the number of notes sharing 1 piece of waveform data.

Fig. 14(B) illustrates the level of resonance of the damper corresponding to the chord tone corresponding to the key in the keyboard portion 11 and the note of the attack tone. The level of the string sound and the level of the attack sound may be set individually, and for example, when (the level of the string sound and the level of the attack sound) are (0.8, 0.3) in a state where the resonance of the damper is not taken into consideration, the level may be set in accordance with the on/off of the resonance of the damper, such as (0.06, 0.03 (different according to the note)) when the resonance of the damper is on and (0.07, 0.02 (different according to the note)) when the resonance of the damper is off (when the resonance of the string is on).

As shown in fig. 14(B), it is also effective to set the level corresponding to the note to be pressed for the string tone level and the attack tone level for the damper resonance, and particularly, in the note where the damper resonance sound is on the high frequency side, by setting the level of the attack tone higher, the tone color characteristic of the damper resonance including a large number of overtones in the high frequency range can be faithfully reproduced.

Next, the ratio of the addition of the string sound and the attack sound will be described.

In the present embodiment, the proportion of addition can be changed by adopting a configuration in which the string sound model passage 63 and the attack sound generation passage 64 are separated. In general, by further increasing the proportion of string tones, a larger piano, or a case where a listening point (listening point) is far from the piano, can be reproduced. This is considered to be caused by the following reasons:

large piano chord length, large soundboard, and therefore greater sound of string vibrations

A piano sound is a string sound composed of a fundamental tone or its overtone and having a clear frequency peak, which is easily recognized by a human being.

In contrast, by increasing the proportion of the attack tones, tones in the case of a small piano, listening point close to the piano, can be reproduced.

As described above, the ratio of the sum of the string sounds and the attack sounds can be changed by the structure in which the channels for generating the string sounds and the attack sounds are separated from each other, and the difference in the ratio of the sum of the musical sounds and the damper resonances is because when the sound generated by the key is transmitted to another string and resonates, the component that propagates through the bridge is large, and the proportion of the attack sound in the propagating component is large. Therefore, the damper resonance sound in which the components of the struck sound are synthesized at a greater ratio becomes a sound similar to that of an acoustic piano.

The following describes the contents of the setting processing corresponding to each operation. The processes corresponding to these operations are all controlled mainly by the CPU 13A.

Fig. 15(a) is a flowchart showing the processing contents in the case where the preset tone color is selected. When the preset tone is selected, the CPU13A first prepares the string tone level (a13a1) and the attack tone level (S13a2) corresponding to the selected tone as shown in (B-1) and (B-2) of fig. 14(B) (step S101). Next, the CPU13A sets the level at the time of musical tones (step S102), and sets the resonance level (S13a3, S13a4) according to the state of the damper pedal 12 (step S103), which ends the processing according to the selection of the preset tone color, returning to the processing for waiting for the performance operation.

In this way, by selecting 1 tone from a plurality of preset tones, various additive-synthesis ratios can be set, and thus, it is possible to simplify the complicated operations required before playing the musical instrument, maintain the variety of expressions, and easily perform the actual processing.

Here, the preset timbre is set, for example, such that the striking sound is large when the damper pedal 12 is on, and the string sound is large when the damper pedal 12 is off. Further, a setting may be considered in which the level for damper resonance of the resonance feedback value is set to about 1/10 with respect to the level for musical sound output.

Fig. 15(B) is a flowchart showing the processing contents in the case of an operation of changing the ratio of the current tone, chord, and attack, which is performed in addition to the selection operation of the preset tone described in fig. 15 (a). In processing, the CPU13A first corrects the string tone level (S13a1) and the attack tone level (S13a2) for each prepared musical tone output selected by the preset operation to the respectively designated change ratios in response to the operation (step S201).

Further, the CPU13A sets the level of the resonance sound (S13a3, S13a4) in accordance with the state of the damper pedal 12 (step S203) in addition to the level at the time of setting the musical tone (step S202), and ends the processing above and returns to the processing for waiting for the musical performance operation.

In this way, the individual ratio changing operation of the current tone color, string sound, and percussion sound is a process of further arbitrarily adjusting the preset level called by the user of the electronic keyboard instrument 10, and the tone color more preferred by the user can be freely set in accordance with the fine adjustment operation applied by the user to the preset selection.

Fig. 16(a) is a flowchart showing the contents of processing executed by the CPU13A when the keyboard unit 11 is depressed. When there is a key on the keyboard portion 11, the CPU13A first acquires a read address shown in fig. 14 a based on the note and velocity of the key, and reads waveform data of the excitation pulse signal of the string sound (S61) and waveform data of the attack sound (S62) from the excitation signal waveform memory 61 and the attack sound waveform memory 62, respectively (step S301).

Meanwhile, the CPU13A sets, for the string sound, an integer part Pt _ r [ n ] of the string length delay of the delay time to the delay circuit 36 of the string sound model channel 63 by the note event processing unit 31, a decimal part Pt _ f [ n ] of the all-pass filter 37, a cutoff frequency Fc [ n ] of the low-pass filter 38, and a feedback amount (S313) to the amplifier 39, respectively, based on the velocity and the note (step S302).

Further, regarding the attack, the CPU13A sets the cutoff frequency Fc for the low pass filter 92 of the attack generation channel 64 and the volume for the envelope generator 42 (S317) by the note event processing section 31 according to the tempo and the note (step S303).

Immediately after such setting, the CPU13A starts the sound generation of the chord tone on the chord tone model channel 63 (S311), and starts the sound generation of the attack tone on the attack tone generation channel 64 (S315) (step S304), and the process corresponding to the key is ended, and the process returns to the process for waiting for the next performance operation.

Fig. 16(B) is a flowchart showing the processing contents executed by the CPU13A when a note among the keys in the keyboard unit 11 is released. When the keyboard unit 11 is off-key, the CPU13A first acquires the string sound model channel 63 and the attack sound generation channel 64 to be sounded according to the pressed note (step S401).

Then, the CPU13A sets a feedback amount (S313) according to the note and the velocity to the amplifier 39 of the string sound model channel 63 as the resource through the note event processing unit 31 with respect to the string sound (step S402).

Further, regarding the percussive sound, the CPU13A sets the volume of the Release (reverberation) to the percussive sound generation channel 64 as a resource in the envelope generator 42 by the note event processing part 31 according to the velocity and the note (step S317), and ends the processing corresponding to the off-key and returns to the processing for waiting for the performance operation.

Fig. 17(a) is a flowchart showing the contents of processing executed by the CPU13A when the damper pedal 12 is operated to be opened by being depressed.

At the beginning of depressing the damper pedal 12, the CPU13A sets the damper resonance chord level for the on operation of the damper pedal 12 to the amplifier 68A (S13a3), and sets the damper resonance striking tone level for the on operation to the amplifier 68B (S13a4) (step S501).

Further, the CPU13A sets the damper resonance string tone level (S13a3) shown in fig. 14(B-1) and the damper resonance attack tone level (S13a4) shown in fig. 14(B-2) corresponding to the note corresponding to the further on/off operation of the damper pedal 12 (step S502), ends the processing corresponding to the on operation of the damper pedal 12, and returns to the processing for waiting for the performance operation.

Fig. 17(B) is a flowchart showing the contents of processing executed by the CPU13A when the off operation of depressing the damper pedal 12 is released.

At the beginning of the release of the depression of the damper pedal 12, the CPU13A sets the damper resonance chord level for the off operation of the damper pedal 12 to the amplifier 68A (S13a3), and sets the damper resonance striking level for the off operation to the amplifier 68B (S13a4) (step S601).

Further, the CPU13A sets the damper resonance string tone level (S13a3) shown in fig. 14(B-1) and the damper resonance attack tone level (S13a4) shown in fig. 14(B-2) corresponding to the note corresponding to the further on/off operation of the damper pedal 12 (step S602), and the process corresponding to the off operation of the damper pedal 12 is ended, and returns to the process for waiting for the performance operation.

In this way, the string resonance and the damper resonance according to the operation of the damper pedal 12 can be appropriately set because the string level and the striking level of the damper resonance are variably set by the depression and release of the damper pedal 12.

In addition, since the setting of the string tone level and the attack tone level of the damper resonance is performed by setting the level corresponding to the pressed note, the tone color of the musical tone such as an actual acoustic piano can be reproduced more faithfully.

In fig. 8, the functional configuration of the entire hardware of the sound source DSP13C at the mounting level for generating the sound source channels of the chord tone and the attack tone is described, but a more simplified configuration may be considered.

Fig. 18 is a block diagram illustrating a functional configuration instead of fig. 8. In fig. 18, the adder 69 feedback-inputs the addition result of the musical tone signal of the chord tone and the musical tone signal of the attack tone, which are output to the D/a conversion unit 13D of the next stage, to the chord tone model channel 63 via the delay holding unit 67A and the amplifier 68A at the same time.

The amplifier 68A attenuates the musical tone signal delayed and output by the delay holding section 67A in accordance with the level of the damper resonance string tone supplied thereto, and feeds back and inputs the attenuated musical tone signal to the string tone model channel 63.

As described above, the level of the resonance sound is set by switching the setting between when the damper pedal 12 is operated and when the damper pedal 12 is not operated, but may be shared without performing the switching setting.

By adopting such a functional configuration, the configuration can be simplified as compared with the configuration shown in fig. 8, and musical tones of a real piano generated by string sounds and attack sounds can be generated.

As described above in detail, according to the present embodiment, natural musical tones can be generated satisfactorily without increasing the amount of calculation.

In addition, in the present embodiment, since the repetition of the frequency range is avoided by the component of the string sound and the component of the attack sound, it is possible to simplify the control by setting each as an independent object.

Specifically, for example, by individually setting the additive combination ratio of the string sounds and the percussion sounds, the distance from the musical instrument can be expressed by the musical sound heard, and the expressiveness can be improved.

In the present embodiment, by providing a path for feedback input of a resonance sound of a musical sound in the closed-loop circuit, it is possible to set an additive combination ratio of a chord sound and a resonance sound, and thereby, a musical sound with further increased expressiveness can be reproduced.

In the present embodiment, since the additive combination ratio of the resonance sounds according to the presence or absence of the depression operation of the damper pedal 12 can be variably set, musical sounds of various tones can be expressed by the on/off operation of the damper operation.

In particular, in the present embodiment, when a musical sound of a string tone of a plurality of notes is generated simultaneously in accordance with a chord, an additive synthesis ratio can be set for each note, and a wider variety of timbres can be expressed.

In the present embodiment, the additive combination ratio of the musical tone signals of the resonance tone and the string tone can be set for each note of the musical tone signals of the string tone in accordance with the presence or absence of the operation of the damper pedal 12, and thus, a more detailed tone color can be expressed.

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.

However, in the case of a musical instrument such as an acoustic piano, various stringed instruments such as dulcimer (dulcimer), dulcimer, and hungarian dulcimer (cimbalm), or a stringed instrument such as an acoustic guitar, which is described above, and a musical instrument in which strings are tapped with fingers, a more realistic musical tone can be generated when a musical tone including a large number of musical tone components, which cannot be expressed only by the fundamental tone of a string tone and its regular overtones, is expressed along with the hitting operation of the strings.

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.