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JPH06202629

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DESCRIPTION JPH06202629
[0001]
BACKGROUND OF THE INVENTION 1. Field of the Invention The present invention relates to a
tone effecting apparatus for giving a feeling of spread to tones formed by an electronic musical
instrument or the like.
[0002]
2. Description of the Related Art The musical tone signal of an electronic musical instrument is
usually formed in monaural. As a device for giving a feeling of expansion to a monaural tone
signal, there is, for example, a pseudo stereo circuit. The pseudo stereo circuit inputs a monaural
signal to left and right channels and a phase conversion circuit such as a delay circuit. Further,
the signal whose phase is changed by the phase conversion circuit is input to both the left and
right channels. At this time, in one channel, the first monaural signal is added and synthesized,
and in the other channel, the frequency characteristics of both channels are formed into a
complementary comb filter shape by subtracting and synthesizing the monaural signal. By
inputting a monaural signal to this circuit, the localization position of the sound image is shifted
to the left or right due to the frequency component, and the musical tone is broadened. The
degree of the sense of spread is determined by how much (additionally) (subtracted) the signal
whose phase is changed by the phase conversion circuit is synthesized.
[0003]
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1
However, such a conventional effect imparting circuit has a drawback that the setting of the
effect is fixed and dynamic control can not be performed to change the feeling of expansion
during playing. . In addition, when the setting of the effect is changed (for example, when the
addition synthesis amount of the signal whose phase is changed by the above-mentioned pseudo
stereo circuit is increased or decreased), the level of the synthesized tone signal, that is, the
volume changes. There is a disadvantage that the volume changes during playing.
[0004]
An object of the present invention is to provide an effect imparting device capable of dynamically
changing the effect of the sense of spread without changing the volume of the entire tone signal.
[0005]
According to the present invention, there are provided an effect imparting means for imparting a
feeling of expansion to a musical tone signal to an extent instructed by a parameter, a control
means for temporally changing the parameter, and a change of the parameter. The present
invention is characterized in that it comprises level adjusting means for adjusting the level of the
tone signal outputted by the effect giving means constant regardless of the above.
[0006]
The effect imparting device of the present invention is provided with effect imparting means
such as pseudo stereo which imparts a feeling of spread to musical tone signals, and the degree
of effect imparting, that is, the magnitude of the feeling of spread is controlled by parameters.
This parameter is temporally changed by the control means.
As the parameters change with time, the degree of spread feeling given to the tone signal
increases and decreases with time. On the other hand, the level adjusting means adjusts so that
the level of the musical tone signal can be kept constant even if the spread feeling of the musical
tone signal changes. As a method of level adjustment, the gain of the output stage may be
adjusted according to the parameter, or a plurality of parameters may be normalized.
[0007]
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2
1 is a block diagram of a pseudo stereo circuit according to an embodiment of the present
invention. This pseudo stereo circuit divides a musical tone signal input in monaural into left and
right channels based on frequency components, and imparts musical tone spread. A musical tone
signal (monaural signal) input in monaural (MONO) is input to the delay 1 and the multipliers 4
and 5. The multiplier 4 is connected to the right channel, and the multiplier 5 is connected to the
left channel.
[0008]
Two taps are extracted from different positions from the delay 1 and a musical tone signal (delay
signal) whose phase is changed by the delay is extracted. They are connected to the multipliers 2
and 3 respectively. The multiplier 2 is connected to the left channel, and the multiplier 3 is
connected to the right channel.
[0009]
That is, the delayed signal of the multiplier 2 and the monaural signal of the multiplier 5 are
added in the adder 6 to be the left channel output. Also, the delayed signal of the multiplier 3 is
subtracted from the monaural signal of the multiplier 4 in the adder 7 to be the output of the
right channel. By connecting in this way, the frequency characteristics of the left and right
channels (comb filters) can be made different, and the localization position becomes different
depending on the frequency component. As a result, it is possible to output to the listener a
musical tone having a sense of expansion in which the sound image is not concentrated at one
point. In order to increase the sense of spread, the characteristics of the comb filter may be made
strong, and for this purpose, the ratio of the delay signals in the adders 6 and 7 may be
increased.
[0010]
Here, coefficients to be multiplied by the tone signals (monaural signal, delay signal) are input to
the multipliers 2, 3, 4, and 5, respectively. The coefficients are generated based on an externally
applied modulation signal A. The modulation signal A is input to the complement calculator 10
and the square root calculator 8. The square root AA of the modulation signal obtained by the
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square root calculator 8 is given to the multipliers 2 and 3 as a coefficient. Further, the
complement arithmetic unit 10 obtains a complement (1−A) to 1 of the modulation signal A, and
inputs the complement to the square root operation unit 9. The square root 補 (1-A) of the
complement of the modulation signal obtained by the square root calculator 9 is given to the
multipliers 4 and 5 as a coefficient.
[0011]
The relationship between A and √A, √ (1-A) is shown in FIG. Since the auditory magnitude of
the musical tone can be determined by the effective value of the amplitude, the square sum of the
coefficient √ (1-A) of the monaural signal and the coefficient √A of the delay signal is 1 as
described above. By keeping it, the entire volume can be kept constant even if the coefficient is
changed.
[0012]
8 to 10, adder 6 (adder 7) when A is variously changed to (A = 0, A = 0.25, A = 0.5, A = 0.75, A =
1). Shows the frequency characteristics of. In the case of A = 0 and A = 1, the characteristic of the
comb filter does not appear because the tone is completely biased to one side. The characteristics
of the comb filter appear when A = 0.25, A = 0.5, and A = 0.75, but when A and 1-A are in
balance, when A = 0.5 It can be seen that the characteristics are most remarkable and the spread
feeling is large.
[0013]
As the modulation signal, the operation amount output of the operation element operated by the
player may be input, or the oscillation output such as LFO may be input, and even if the envelope
signal generated by the envelope generator is input Good. As the low frequency waveform
oscillated by the LFO, for example, one as shown in FIG. 3 can be considered. The upper part of
the figure is the waveform of a signal input as the modulation signal A, and the lower part of the
figure is the waveform of its complement (1-A).
[0014]
The square root calculators 8 and 9 may use a ROM (square root table) which outputs square
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root data with a real number input as an address, and the square root may be calculated using a
digital circuit as shown in FIG. It can be output.
[0015]
FIG. 5 is a block diagram of an electronic musical instrument incorporating the above-mentioned
pseudo stereo circuit.
This electronic musical instrument has a keyboard unit 20, a key depression detection unit 21, a
tone generation channel assignment unit 22, and a tone generation unit 23. The key depression
detection unit 21 monitors the keyboard unit 20, and detects on / off of each key, initial touch
data, and the like. These data are output from the key depression detection unit to the tone
generation channel allocation unit 22. The tone generation channel assignment unit 22 assigns a
channel for forming a tone signal instructed by key on from within the tone generation channel
possessed by the tone formation unit 23. A key code, initial touch data, etc. are transmitted to the
tone generation channel. The tone forming unit 23 forms a tone signal in monaural based on
these data. The generated tone signal is input to the pseudo stereo circuit 24. The pseudo stereo
circuit 24 is the same as that shown in FIG. 1 and can dynamically control the sense of musical
tone spread based on a modulation signal input from the outside. One of the controller 29, the
MIDI data generator 30, the LFO 31, and the envelope generator 32 is selectively connected to
the pseudo stereo circuit 24. These devices are devices for outputting a modulation signal to the
pseudo stereo circuit 24. These are connected to the selector 27, one of which is selected by the
selection switch 28 and connected to the pseudo stereo circuit 24.
[0016]
The musical tone signal which is stereo-formed by the pseudo stereo circuit 24 and given a
spreading feeling is converted to an analog signal by the D / A converter 25 (25L, 25R) and then
emitted as a musical tone from the sound systems 26L, 26R. The D / A converters 25L and R
may use one D / A converter in time division.
[0017]
A pedal operator or a modulation wheel is used as the operator 29. The operation amount data of
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the operation element 29 may be used as a modulation signal as it is, or may be input to the LFO
31 and used as a parameter for controlling the amplitude and frequency of the low frequency
signal oscillated by the LFO 31. Also, as the MIDI data generation unit 30, a MIDI controller or
sequencer connected externally can be applied. Further, the envelope generator 32 operates with
the key-on signal KON as a trigger, and generates a modulation signal of a desired waveform.
[0018]
FIG. 6 shows an example of another electronic musical instrument using the above-mentioned
pseudo stereo circuit. In this electronic musical instrument, musical tone signals of a plurality of
timbres formed by the musical tone forming unit 41 are localized at different positions using
panning circuits 44a to 44n. The tone forming unit 41 simultaneously forms tone signals of a
plurality of tones in time division. The distributor 42 distributes and inputs the musical tone
signal formed by the musical tone forming unit 41 to the plurality of pseudo stereo circuits 43a
to 43n in accordance with the time division timing. The control unit 40 controls the operation of
the tone forming unit 41 and the distributor 42. The pseudo stereo circuits 43a to 43n have the
same configuration as that shown in FIG. 1, distribute the tone signal to the stereo and give a
sense of spread. The stereo tone signals output from the pseudo stereo circuits 43a to 43n are
output to the panning circuits 44a to 44n. The panning circuit 44 localizes the sound image to a
predetermined position by adjusting the volume balance and the like of the left and right
channels of the stereo tone signal. FIG. 7 shows an example in which a plurality of timbres are
localized at different positions using the panning circuits 44a to 44n. The tone signals output
from the panning circuits 44a to 44n are added and synthesized for each of the left and right
channels by the adders 45L and 45R, and are output as stereo signals.
[0019]
In FIG. 7, the musical tone signal localized at a predetermined position expands / reduces the
sound image based on the spread feeling control of the pseudo stereo circuits 43a to 43n around
the localized position.
[0020]
In this case, it is natural and effective that the sense of broadening of the pseudo stereo is not
increased so much and the sense of broadening is limited to a little more than monaural, and the
sense of broadening is changed within that range.
[0021]
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6
Although the pseudo stereo circuit using delay 1 has been described in the above embodiment,
the method is not limited to this, and the present invention can be similarly applied to a pseudo
stereo circuit using a phase inversion circuit, a π / 2 phase circuit, etc. .
[0022]
As described above, according to the present invention, it is possible to give a feeling of
spreading to musical tone signals input in monaural, and further, it is possible to temporally
change the feeling of spreading.
[0023]
Furthermore, even if the sense of spread is changed, the overall volume does not change.
[0024]
Brief description of the drawings
[0025]
1 is a block diagram of a pseudo stereo circuit according to an embodiment of the present
invention
[0026]
2 shows the output of the root portion of the same pseudo stereo circuit
[0027]
3 is a diagram showing an example of a modulation signal input to the same pseudo stereo
circuit
[0028]
4 shows an example of a route circuit used in the same pseudo stereo circuit
[0029]
5 shows an example of an electronic musical instrument using the same pseudo stereo circuit
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[0030]
6 shows another example of the electronic musical instrument using the same pseudo stereo
circuit
[0031]
Fig. 7 A diagram showing changes in sound image localization and sense of spread in the same
electronic musical instrument
[0032]
Figure 8 shows the output frequency characteristics of the adder in the above-mentioned pseudo
stereo circuit
[0033]
Fig. 9 shows the output frequency characteristic of the adder in the above-mentioned pseudo
stereo circuit
[0034]
Fig. 10 shows the output frequency characteristic of the adder in the above-mentioned pseudo
stereo circuit
[0035]
Explanation of sign
[0036]
1-delay 2, 3, 4, 5-multiplier 6, 7-adder 8, 9-square root operator 10-complement operator
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