Electronic musical instrument, electronic keyboard musical instrument, and musical sound generating method

Abstract

An electronic musical instrument, an electronic keyboard musical instrument and a musical sound generation method are provided. The electronic musical instrument comprises: a plurality of playing operating members (11) for respectively specifying pitches; and at least one processor (13C), wherein the at least one processor (13C) obtains string sound data, wherein the string sound data includes a fundamental tone component and a harmonic component corresponding to the specified pitches, obtains percussion sound waveform data, wherein the percussion sound waveform data does not include the fundamental tone component and the harmonic component corresponding to the specified pitches but includes components other than the fundamental tone component and the harmonic component, and synthesizes the string sound data and the percussion sound data corresponding to the percussion sound waveform data at a set ratio (45).

Description

Technical Field

[0001] The invention relates to an electronic musical instrument, an electronic keyboard musical instrument and a musical tone generating method. Background Art

[0002] A technique for a resonance sound generating device that can more faithfully simulate the resonance sound of an acoustic piano has been proposed. (For example, Japanese Patent Application Laid-Open No. 2015-143764) Summary of the invention

[0003] An electronic musical instrument according to an embodiment of the present invention comprises:

[0004] A plurality of performance operating elements, each of which specifies a pitch; and

[0005] At least 1 processor,

[0006] The at least one processor,

[0007] Acquire string sound data, the string sound data including a fundamental tone component and a harmonic component corresponding to a specified pitch, and excluding components other than the fundamental tone component and the harmonic component,

[0008] Acquiring percussion sound waveform data, the percussion sound waveform data not including the fundamental tone component and the harmonic component corresponding to the designated pitch but including components other than the fundamental tone component and the harmonic component,

[0009] The string sound data and the percussion sound data corresponding to the percussion sound waveform data are synthesized at a set ratio.

[0010] An electronic keyboard musical instrument according to an embodiment of the present invention comprises:

[0011] keyboard, individually specifying pitches;

[0012] A tone selection operation element; and

[0013] At least 1 processor,

[0014] The at least one processor,

[0015] Acquire string sound data, the string sound data including a fundamental tone component and a harmonic component corresponding to a specified pitch,

[0016] acquiring percussion sound waveform data, the percussion sound waveform data not including the fundamental tone component and the harmonic component corresponding to the designated pitch but including components other than the fundamental tone component and the harmonic component,

[0017] The string sound data and the percussion sound data corresponding to the percussion sound waveform data are synthesized at a ratio set according to the operation of the tone color selection operating member.

[0018] A musical sound generating method according to an embodiment of the present invention, wherein:

[0019] At least 1 processor for an electronic keyboard instrument,

[0020] Acquire string sound data, the string sound data including a fundamental tone component and a harmonic component corresponding to a specified pitch,

[0021] acquiring percussion sound waveform data, the percussion sound waveform data not including the fundamental tone component and the harmonic component corresponding to the designated pitch but including components other than the fundamental tone component and the harmonic component,

[0022] The string sound data and the percussion sound data corresponding to the percussion sound waveform data are synthesized at a ratio set according to the operation of the tone color selection operating member. BRIEF DESCRIPTION OF THE DRAWINGS

[0023] Figure 1 This is a block diagram showing a basic hardware circuit configuration of an electronic keyboard instrument according to one embodiment of the present invention.

[0024] Figure 2 This is a block diagram showing the conceptual structure of basic signal processing performed by the sound source DSP of this embodiment.

[0025] Figure 3 This is a diagram illustrating the principle of generating waveform data of string sound by excitation pulses in this embodiment.

[0026] Figure 4 This is a diagram illustrating the frequency spectrum of the fundamental tone and overtones of the string sound according to this embodiment.

[0027] Figure 5 This is a diagram illustrating the frequency spectrum of the struck sound according to this embodiment.

[0028] Figure 6 2 is a diagram illustrating a frequency spectrum of musical sounds according to this embodiment.

[0029] Figure 7 This is a diagram showing a specific example of waveform data of a piano musical sound after addition and synthesis with each waveform data constituting the piano musical sound according to the embodiment.

[0030] Figure 8 It is a block diagram illustrating the functional configuration of a hardware circuit of each sound source channel having string sounds and struck sounds at a setup level according to this embodiment.

[0031] Fig. 9 This is a block diagram showing the signal processing structure of the main string sound model channel of this embodiment.

[0032] Fig.101 is a block diagram mainly showing a signal processing structure of a percussive sound generating channel according to this embodiment.

[0033] Fig.11 It is a block diagram showing the circuit configuration of the waveform reading unit of this embodiment.

[0034] Fig.12 This embodiment is shown Fig. 9 Block diagram of the detailed circuit structure of the all-pass filter.

[0035] Fig.13 This embodiment is shown Fig. 9 A block diagram of the detailed circuit structure of the low-pass filter.

[0036] Fig.14 This is a diagram illustrating the mapping structure of the waveform data of the excitation pulse of the string sound and the percussion sound read out according to the key played and the velocity, and the level changes of the generated string sound and the percussion sound according to this embodiment.

[0037] Fig.15 This is a flowchart showing the contents of each process when a preset timbre is selected and when a change in the ratio of the current timbre, string sound, and percussion sound is performed according to this embodiment.

[0038] Fig.16 This is a flowchart showing the contents of each process when a key is pressed and when a key is released according to this embodiment.

[0039] Fig.17 It is a flowchart showing the contents of each process when the damper pedal is operated on and when it is operated off according to this embodiment.

[0040] Fig.18 This is a block diagram for explaining other functional structures of the hardware circuit of the sound source channel for generating string sounds and struck sounds at the installation level according to this embodiment. DETAILED DESCRIPTION

[0041] An embodiment in which the present invention is applied to an electronic musical instrument will be described in detail with reference to the drawings.

[0042] [structure]

[0043] Figure 1 1 is a block diagram showing the configuration of a basic hardware circuit when the present embodiment is applied to an electronic keyboard instrument 10. In the figure, an operation signal s11 including a note number (pitch information) corresponding to an operation on the keyboard section 11 as a performance operation member and a velocity value (key pressing velocity) as volume information and an operation signal s12 which is a damper on / off operation signal corresponding to an operation on the damper pedal 12 are input to the CPU 13A of the LSI 13.

[0044] The LSI 13 is connected to the CPU 13A, the first RAM 13B, the sound source DSP (digital signal processor) 13C, and the D / A converter (DAC) 13D via the bus B.

[0045] In addition, the sound source DSP 13C is connected to the second RAM 14 outside the LSI 13. Furthermore, the bus B is connected to the ROM 15 outside the LSI 13.

[0046] The CPU 13A controls the overall operation of the electronic keyboard instrument 10. The ROM 15 stores an operation program executed by the CPU 13A, excitation signal data for musical performance, etc. The first RAM 13B functions as a buffer memory for signal delay for generating musical sounds such as a closed loop circuit.

[0047] The second RAM 14 is a working memory for the CPU 13A and the sound source DSP 13C to develop and store the operation program. The CPU 13A provides the sound source DSP 13C with parameters such as note number, velocity value, and resonance parameter (resonance level indicating the level of damper resonance and string resonance) accompanying the timbre during the performance.

[0048] The sound source DSP 13C reads out the action program and fixed data stored in the ROM 15, expands and stores them in the second RAM 14 which is a working memory, and then executes the action program. Specifically, the sound source DSP 13C reads out the waveform data of the excitation signal for generating the required string sound from the ROM 15 according to the parameters provided by the CPU 13A, adds the waveform data of the excitation signal to the processing in the closed loop circuit, and synthesizes the outputs of multiple closed loop circuits to generate the waveform data of the string sound.

[0049] The sound source DSP 13C reads out waveform data of a percussion sound different from the string sound from the ROM 15, and generates percussion sound waveform data with amplitude and sound quality adjusted according to the speed for each channel assigned to the note to be produced.

[0050] Furthermore, the sound source DSP 13C synthesizes the waveform data of the generated string sound and percussion sound, and outputs the synthesized musical sound data s13c to the D / A conversion unit 13D.

[0051] The D / A converter 13D converts the musical sound data s13c into an analog signal (s13d), and outputs the analog signal to the amplifier (amp.) 16 outside the LSI 13. The speaker 17 amplifies the musical sound using the analog musical sound signal s16 amplified by the amplifier 16.

[0052] In addition, it can be achieved through software Figure 1 When implemented by a personal computer (PC), the circuit structure of the functional hardware is similar to Figure 1 The content shown is different.

[0053] Figure 2 1 is a block diagram showing the conceptual structure of the basic signal processing performed by the sound source DSP 13C. Figure 2 As shown, the waveform data of the string sound is generated by a closed-loop circuit of a physical model composed of an adder 21, a delay circuit 23, a low-pass filter (LPF) 24, and an amplifier 22. On the other hand, the waveform data of the percussion sound generated by the PCM sound source described later is added by an adder 25, and the sum is output as comprehensive musical sound data.

[0054] The adder 21 adds the waveform data of the string sound based on the excitation pulse signal (described later) read from the ROM 15 and the feedback input signal of the output of the amplifier 22 , and sends the sum output to the delay circuit 23 .

[0055] The delay circuit 23 sets a delay time corresponding to the length of the string corresponding to the pitch of the assigned note, 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 time change in the sound quality of the string sound, and the output is output as waveform data of the string sound to the adder 25 and the amplifier 22. The amplifier 22 provides the waveform data of the string sound with attenuation corresponding to the provided feedback value and feeds it back to the adder 21.

[0056] As described above, the waveform data of the string sound is generated by using a physical model of a closed-loop circuit. On the other hand, the waveform data of the percussion sound that cannot be continuously generated is generated by a PCM sound source and added by an adder 25, thereby supplementing it to produce good and natural musical sound data.

[0057] Figure 3 This is a diagram that explains the principle of generating waveform data of string sound by using excitation pulses.

[0058] Figure 3 (A) shows the process of decay from the beginning of the piano sound generation. Figure 3 (B) shows waveform data at the beginning of the musical sound generation, that is, immediately after the string starts vibrating. Figure 3 (C) illustrates the Figure 3 (B) is a waveform obtained by extracting only 2 to 3 wavelengths from the waveform shown in FIG. 1 and performing windowing by multiplying the waveform by a window function such as a Hanning window. The waveform data is used as an excitation signal in this way. In the electronic keyboard instrument of the present invention, no matter which key is pressed by the user at what intensity, as long as an excitation signal corresponding to the note number (the pitch of the pressed key) and the velocity value (the speed of the key) can be obtained from the sound source LSI 13, the implementation method is not limited.

[0059] 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 string sound is generated.

[0060] Figure 4 This is a diagram illustrating the spectrum of the string sound generated by the above-mentioned generation method. As shown in the figure, it has a spectrum with a peak-shaped fundamental f0 and its overtones f1, f2, ... connected.

[0061] Furthermore, by subjecting the waveform data of the string sound of the above-mentioned spectrum stored in ROM15 to processing such that the frequency components of the fundamental f0 and its overtones f1, f2, ... are shifted, waveform data of a plurality of string sounds of different pitches can be generated.

[0062] The string sounds that can be generated by the physical model mentioned above are as follows Figure 4 As shown, it does not contain any components other than the fundamental tone component and the overtone. On the other hand, the musical sound produced in the original musical instrument contains a musical sound component that should be called a percussion sound, and the musical sound component that should be called a percussion sound represents the musical sound characteristics of the instrument. Therefore, in an electronic musical instrument, it is preferred to generate the percussion sound to synthesize with the string sound.

[0063] In addition, in the present embodiment, the percussion sound includes sound components such as the collision sound when the hammers and strings of the keys in the acoustic piano collide with each other, the action sound of the hammers, the keystroke sound of the pianist's fingers, and the sound when the keyboard hits the stopper and stops, but does not include pure string sound components (fundamental tone components and overtone components of each key). In addition, the percussion sound is not necessarily limited to the sound of the physical percussion action itself generated when the keys are pressed.

[0064] When generating percussion sounds, the waveform data of the recorded musical sound is first windowed using a window function such as a Hanning window, and then transformed into frequency-dimensional data using FFT (Fast Fourier Transform).

[0065] For the transformed data, the frequencies of the fundamental tone and overtones are determined based on the pitch information of the recorded waveform data, the removed overtones, the deviation of the overtone frequencies from the fundamental tone, and other data that can be observed from the recorded waveform, and calculation processing is performed so that the amplitude of the resulting data of these frequencies becomes 0, thereby removing the frequency components of the string sound.

[0066] For example, when the fundamental frequency is 100 [Hz], the frequencies of the string sound frequency components removed by multiplying by the multiplier 0 become 100 [Hz], 200 [Hz], 400 [Hz], 800 [Hz], ...

[0067] Here, although the harmonics are accurately multipled, the frequencies of actual musical instruments are slightly deviated, so it is possible to deal with the problem more appropriately by using the harmonic frequencies observed from the waveform data obtained by recording.

[0068] Thereafter, by transforming the data from which the frequency components of the string sound have been removed into data of a time dimension through IFFT (Inverse Fast Fourier Transform), waveform data of the percussion sound can be generated.

[0069] Figure 5 2 is a diagram illustrating a frequency spectrum of a musical sound of a percussion sound. The waveform data of the percussion sound having such a frequency spectrum is stored in the ROM 15 .

[0070] By Figure 5 The waveform data of the percussion sound is the same as that of Figure 4 The waveform data of the string sound produced by the physical model shown is added and synthesized to produce Figure 6 The frequency spectrum of the musical tone is shown.

[0071] Right now, Figure 6 This is a diagram illustrating the frequency spectrum of musical sounds produced when a note of the piano pitch f0 is pressed. As shown in the figure, by synthesizing the string sounds of the peaked basic f0 connected to its overtones f1, f2, ... and the percussion sounds produced by the gaps VI, VI, ... of these peaked string sounds, the musical sounds of an acoustic piano can be reproduced.

[0072] Figure 7 1 is a diagram showing a specific example of waveform data of piano musical sounds after adding and synthesizing the waveform data constituting the piano musical sounds. Figure 7 The waveform data of the string sound of the spectrum shown in (A) is generated by the physical model, and on the other hand, Figure 7 The waveform data of the percussion sound of the spectrum shown in (B) is read from the PCM sound source. By adding and synthesizing them, it is possible to generate Figure 7 (C) The natural piano sound as shown.

[0073] Figure 8 This is a block diagram for explaining the functional configuration of the entire hardware circuit of the sound source DSP 13C having each sound source channel for string sounds and percussion sounds at a mounting level.

[0074] In order to make the musical sound of the synthesized string sound and percussion sound as the musical sound of the completed piano, the string sound and the percussion sound each have a plurality of channels, for example, 32 channels each.

[0075] Specifically, the waveform data s61 of the excitation signal for string sound is read from the excitation signal waveform memory 61 according to the note-on signal, and the channel waveform data s63 of the string sound is generated by closed-loop processing in the string sound model channels 63 of up to 32 channels, and output to the adder 65A. The addition result synthesized in the adder 65A is attenuated as the waveform data s65a of the string sound by the amplifier 66A according to the string sound level from the CPU 13A, and then input to the adder 69.

[0076] In addition, the waveform data s65a of the string sound output by the adder 65A is delayed by one sampling period (Z-1) through the delay holding unit 67A, and then attenuated in the amplifier 68A according to the damper resonance string sound level from the CPU 13A, and is fed back to the string sound model channel 63.

[0077] On the other hand, the waveform data s62 of the percussion sound is read out from the percussion sound waveform memory 62 by the note-on signal, and the channel waveform data s64 of the percussion sound is generated in each of the percussion sound generating channels 64 of a maximum of 32 channels, and output to the adder 65B. The addition result synthesized in the adder 65B as the waveform data s65b of the percussion sound is attenuated by the amplifier 66B according to the percussion sound level from the CPU 13A, and then input to the adder 69.

[0078] The waveform data s65 b of the struck sound outputted from the adder 65B is attenuated in the amplifier 68B according to the damper resonance struck sound level from the CPU 13A, and is inputted to the string sound model channel 63 .

[0079] The adder 69 synthesizes the waveform data s66a of the string sound input via the amplifier 66A and the waveform data s66b of the struck sound input via the amplifier 66B by an addition process, and outputs synthesized musical sound data s69.

[0080] The signal s13a1 representing the string sound level with a specified attenuation rate output by CPU13A to amplifier 66A, and the signal s13a2 representing the percussion sound level with a specified attenuation rate output by the same to amplifier 66B, i.e., the sum ratio of the string sound and the percussion sound, are parameters set according to the preset piano timbre and user preference.

[0081] The damper resonance string sound level signal s13a3 outputted by CPU13A to amplifier 68A and the damper resonance strike sound level signal s13a4 outputted to amplifier 68B are parameters that can be set differently from the aforementioned string sound level signal and strike sound level signal.

[0082] This is because, in an actual acoustic piano, the sound produced as the main tone is the sound produced by the bridge, soundboard, and piano body of the piano strings, and there is a difference in sound quality between the resonance sound produced by the bridge, which is the main transmission path of the resonance between the strings. Therefore, a structure is set to be able to adjust this difference. Generally, if the setting is set to a large percussion sound component, 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.

[0083] In addition, when it is desired to separately set the amount of string resonance generated when the damper pedal 12 is not depressed and the amount of damper resonance when the damper pedal 12 is depressed, it is also possible to control the damper resonance (strike sound / string sound) level to change separately according to the state of the damper pedal 12 being depressed.

[0084] For example, in the case of a resonance sound (string resonance) when the damper is open and the damper pedal 12 is not depressed, a sound close to a pure tone is generated as a resonance sound, so it is considered to set the percussion sound to be less. In addition, in the case of a resonance sound (damper resonance) when the damper is closed and the damper pedal 12 is depressed, a sound with a wide frequency band excited by the percussion sound is generated as a resonance sound, so it is considered to set the percussion sound to be more.

[0085] Fig. 9 It is the main expression Figure 8 A block diagram of the detailed circuit structure of the chord sound model channel 63. Fig. 9 In addition to the note event processing unit 31 and the excitation signal waveform memory 61 (ROM 15) described later, the range 63A to 63C surrounded by the dotted line in the figure corresponds to one channel.

[0086] That is, in the electronic keyboard instrument 10, based on an actual acoustic piano, each key is provided with a signal circulation circuit of a string model of one string (lowest range), two strings (low range), or three strings (middle range and above). Fig. 9 In the example, dynamic allocation is used to cope with the three-string model, and a common signal circulation circuit is provided.

[0087] The following description will be given by taking one of the signal circulation circuits of the three string models, the string sound model channel 63A, as an example.

[0088] The note event processing unit 31 is provided with a note on / off signal s13a5, a velocity signal s13a6, a decay / release rate setting signal s13a7, a resonance level setting value signal s13a8, and a damper on / off signal s13a9 from the CPU 13A, and sends a sound generation start signal s311 to the waveform reading unit 32, sends a velocity signal s312 to the amplifier 34, sends a feedback amount signal s313 to the amplifier 39, sends a resonance value signal s314 to the envelope generator (EG) 42, sends an integer part Pt_r[n] of the chord length delay corresponding to the pitch to the delay circuit 36, sends its fractional part Pt_f[n] to the all-pass filter (APF) 37, and sends a cutoff frequency Fc[n] to the low-pass filter (LPF) 38.

[0089] The waveform reading section 32, which receives the sound emission start signal s311 from the note event processing section 31, reads the waveform data s61 of the excitation signal that has been subjected to window-multiplying processing from the excitation signal waveform memory 61 and outputs it to the amplifier 34. The amplifier 34 adjusts the level of the excitation signal waveform data s61 by an attenuation amount corresponding to the velocity signal s312 from the note event processing section 31 and outputs it to the adder 35.

[0090] In addition, in the adder 35, the waveform data s41 obtained by adding the string sound and the percussion sound is input as the sum output from the adder 41, and the sum output obtained as a result of the addition is directly output as the channel waveform data s35 (s63) of the string sound to the adder 65A of the next stage, and is output to the delay circuit 36 ​​that constitutes the closed-loop circuit.

[0091] In an acoustic piano, the delay circuit 36 ​​sets the string length delay Pt_r[n] from the note event processing unit 31 as a value corresponding to the integer part of one wavelength of the sound output when the string vibrates (for example, an integer value such as 20 when corresponding to a high-pitched key and 2000 when corresponding to a low-pitched key), delays the channel waveform data s35 by the amount of the string length delay Pt_f[n], and outputs it to the all-pass filter (APF) 37.

[0092] The all-pass filter 37 sets the chord length delay Pt_f[n] as a value corresponding to the decimal part of the 1 wavelength by the note event processing unit 31, delays the waveform data s36 of the delay circuit 36 ​​by the chord length delay Pt_f[n], and outputs it to the low-pass filter (LPF) 38. That is, the delay circuit 36 ​​and the all-pass filter 37 constitute Figure 2 The delay circuit 23 in the signal generator is used to delay the signal by a time (a time corresponding to one wavelength) determined by the note number information (pitch information).

[0093] The low pass filter 38 is equivalent to Figure 2 The low-pass filter 24 allows the waveform data s37 of the all-pass filter 37 on the lower frequency side than the cutoff frequency Fc[n] for wide-range attenuation set by the note event processing unit 31 for the frequency of the chord length to pass through, and outputs it to the amplifier 39 and the delay holding unit 40.

[0094] Amplifier 39 Figure 2The amplifier 22 attenuates the output data s38 from the low-pass filter 38 according to the feedback amount signal s313 provided from the note event processing unit 31, and then outputs it to the adder 41. The feedback amount signal s313 is set according to the value of the rate following the Decay (decay) when the key is pressed and the damper is closed, and is set according to the value of the rate following the Release (residual) when the key is not pressed and the damper is open. The feedback amount signal s313 becomes smaller when the Release (residual) ratio is high, the sound decays faster, and the degree of resonance of the string sound is also low.

[0095] The delay holding unit 40 holds the waveform data output from the low-pass filter 38 for one sampling period (Z-1), and then outputs the data to the subtractor 44 as a subtracted number.

[0096] In addition, the output data s68a of the string sound for the resonance sound one sampling period ago, which is superimposed with the full string model, is input into the subtractor 44, and the output data s40 of the string model itself, which is the output of the low-pass filter 38 through the delay holding unit 40, is used as a subtractant, and the output data s44 of the difference is output to the adder 45.

[0097] In addition, the waveform data s68b of the percussion sound from the amplifier 68B is input to the adder 45, and the waveform data s45 obtained by the sum of the addition is supplied to the amplifier 43. The amplifier 43 performs attenuation processing based on the signal s42, which 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 corresponding to the resonance value from the note event processing unit 31, and outputs the waveform data s43 after the attenuation processing to the adder 41.

[0098] The adder 41 adds the waveform data s39 of its own string model as the output of the amplifier 39 and the waveform data s43 of the resonance sound of the overall string sound and the percussion sound as the output of the amplifier 43, and provides the waveform data s41 of the sum output to the adder 35, thereby performing feedback input of the resonance sound to the closed-loop circuit.

[0099] When a note-on signal s13a5 is input to the note event processing unit 31, before the sound production starts, the velocity signal s312 to the amplifier 34, the integer part Pt_r[n] of the delay time to the delay circuit 36 ​​corresponding to the pitch, the fractional part of the 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 specified levels respectively.

[0100] When the sound generation start signal s311 is input to the waveform reading unit 32, the waveform data s34 of the excitation signal corresponding to the predetermined speed signal s312 is supplied to the closed loop circuit, and the sound generation starts according to the set timbre change and delay time.

[0101] Thereafter, a feedback amount signal s313 corresponding to a predetermined Release (residual sound) ratio is supplied to the amplifier 39 through the note-off signal s13a5 of the note, and the operation is switched to a mute operation.

[0102] In the key-pressed state and the damper-closed state, the feedback amount signal s314 provided to the envelope generator 42 has a value corresponding to the delay amount in the delay circuit 36 ​​and the all-pass filter 37 .

[0103] On the other hand, in the non-keyed state and the damper-open state, the feedback amount signal s314 supplied to the envelope generator 42 becomes a value corresponding to the volume at the time of Release (residual sound).

[0104] As a control of the feedback amount signal s314 provided to the envelope generator 42, the non-key state and the damper open state become smaller, the sound decays quickly, and there is little resonance.

[0105] In addition, when the damper is in the closed state without pressing a key, that is, when the damper pedal 12 is pressed, a series of parameters for when the aforementioned note is on are set according to the damper on / off signal s13a9, but the pronunciation start signal s311 is not sent to the waveform reader 32, and the waveform data s34 is not input to the adder 35 via the waveform reader 32 and the amplifier 34.

[0106] In addition, when the damper is in the closed state when the key is pressed, 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 inputting the waveform data s68a of the string sound or the waveform data s68b of the percussion sound to generate a resonance sound.

[0107] As described above, the string sound model channels 63A to 63C are channels in which three strings are arranged for each piano note, and therefore have the following advantages: in the case of dynamic allocation, if three strings are fixed in advance and the processing actions of the waveform data (s63) of all channels are unified in advance, the processing program structure and the hardware circuit structure are simplified, and there is no need for dynamic changes in the string structure.

[0108] This is for the same reason as the following situation: when resonance sound is generated by depression of the damper pedal 12, in each channel 63 corresponding to the lowest 12 notes, waveform data of unnecessary percussion sound is allowed to be input when the key corresponding to the lowest 12 notes is not pressed.

[0109] When the channel structure of each string model is unified into a 3-string model, and when the 3-string model is assigned to notes in the 2-string and 1-string areas, it can be controlled at the stage of starting processing of the pronunciation output excitation signal data, and can also be simply dealt with by setting it to eliminate the subtle interval difference representing the string interval (unison (detune)).

[0110] In addition, when performing an operation of a static allocation method in which, for example, a string model is prepared for 88 notes and each note is fixedly allocated, the present invention is not limited to this.

[0111] Fig.10 It is the main expression Figure 8 1 is a block diagram showing a detailed circuit configuration of the percussion sound generation channel 64. The percussion sound generation channel 64 has 32-channel signal generation circuits in response to the dynamic allocation method.

[0112] Hereinafter, one of the percussive sound generating channels 64 will be described as an example.

[0113] The note event processing unit 31 provides a note on / off signal s13a5 from the CPU 13A, sends a sound generation control signal s315 to the waveform reading unit 91, sends a signal s317 indicating note on / off and speed to the envelope generator (EG) 42, and further sends a signal s316 indicating a cutoff frequency Fc corresponding to the speed to the low-pass filter (LPF) 92.

[0114] The waveform reading unit 91 which receives the sound emission control signal s315 from the note event processing unit 31 reads the instructed waveform data s62 from the percussion sound waveform memory 62 (ROM15) storing the waveform data s62 of the percussion sound as a PCM sound source, and outputs it to the low-pass filter 92.

[0115] The low-pass filter 92 passes the waveform data s62 of the percussive sound at a frequency lower than the cutoff frequency Fc supplied from the note event processing section 31 , thereby providing a change in timbre according to the velocity, and outputs the data to the amplifier 93 .

[0116] The amplifier 93 performs a signal-based volume adjustment process and outputs the processed channel waveform data s93 (s64) of the percussion sound to the subsequent adder 65B. The signal is provided from the envelope generator 42 and represents the volume corresponding to the stage of the ADSR that changes over time corresponding to the velocity value from the note event processing unit 31.

[0117] Also like Figure 8 As shown, the channel waveform data s64 of the percussion sound of a maximum of 32 channels is synthesized and summarized by the adder 65B, and output to the adder 69 via the amplifier 66B. On the other hand, it is also output to the string sound model channel 63 side that processes the musical sound signal of the string sound via the amplifier 68B.

[0118] Fig.11 It means in Fig. 9 The waveform reading unit 32 reads the string sound excitation signal waveform data s61 in the string sound model channel 63, and Fig.10 A block diagram of a common circuit structure of a waveform reading unit 91 that reads out percussion sound waveform data s62 in a percussion sound generating channel 64.

[0119] When a key is pressed on the keyboard unit 11, an offset address indicating a start address corresponding to a note number and a velocity value to be sounded is stored in the offset address register 51. The stored content s51 of the offset address register 51 is output to the adder 52.

[0120] On the other hand, the count value s53 of the current address counter 53 which is reset to “0 (zero)” at the time of initial sound generation is output to the adder 52 , the interpolation unit 56 , and the adder 55 .

[0121] The current address counter 53 is a counter that sequentially increases the count value using a result s55 obtained by adding a hold value s54 of a pitch register 54 holding the reproduced pitch of a pulse and its own count value s53 via an adder 55 .

[0122] The reproduced pitch of the pulse as the setting value of the pitch register 54 is usually "1.0" if the sampling rate of the waveform data in the excitation signal waveform memory 61 or the percussion sound waveform memory 62 is consistent with the string model. On the other hand, when the pitch is changed by master tuning, stretch tuning, temperament, etc., a value added or subtracted from "1.0" is provided.

[0123] The output (address integer part) s52 of the adder 52 which adds 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-out address to the excitation signal waveform memory 61 (or the percussion sound waveform memory 62), and the corresponding excitation signal waveform data s61 of the string sound (or the waveform data s62 of the percussion sound) is read out from the excitation signal waveform memory 61 (or the percussion sound waveform memory 62).

[0124] The read waveform data s61 (or s62) is interpolated in the interpolation section 56 based on the decimal part of the address corresponding to the pitch output from the current address counter 53, and then output as a pulse output.

[0125] Fig.12 Yes means Fig. 9 1 is a block diagram of a detailed circuit structure of the all-pass filter 37. The output s36 from the delay circuit 36 ​​at the previous stage is input to the subtractor 71. The subtractor 71 performs subtraction using the waveform data of one sampling period before output by the amplifier 72 as a subtrahend, and outputs the waveform data which becomes the difference to the delay holding unit 73 and the amplifier 74. The amplifier 74 outputs the waveform data attenuated by the chord length delay Pt_f to the adder 75.

[0126] The delay holding section 73 holds the transmitted waveform data, delays the waveform data by one 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 by the chord length delay Pt_f as a subtracted number to the subtracter 71. The sum output of the adder 75 corresponds to the delay operation in the delay circuit 36 ​​of the preceding stage, and is sent to the low-pass filter 38 of the subsequent stage as waveform data s37 delayed by a time (a time corresponding to one wavelength) determined by the input note number information (pitch information).

[0127] Fig.13 Yes means Fig. 9 The following is a block diagram of the detailed circuit structure of the low-pass filter 38. The delayed waveform data s37 from the all-pass filter 37 of the previous stage is input to the subtractor 81. The waveform data above the cutoff frequency Fc output by the amplifier 82 is provided to the subtractor 81 as a subtrahend, and the waveform data on the low-frequency side less than the cutoff frequency Fc is calculated as the difference, and output to the adder 83.

[0128] The waveform data output by the delay holding section 84 one sampling period ago is also input to the adder 83, and the waveform data which becomes the sum thereof is output to the delay holding section 84. The delay holding section 84 holds the waveform data sent from the adder 83, delaying it by one sampling period (Z-1), as the waveform data s38 of the low-pass filter 39, and outputs it to the amplifier 82 and the adder 83.

[0129] As a result, the low-pass filter 38 passes the waveform data on the lower frequency side than 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 holding unit 40 at the subsequent stage.

[0130] In a closed loop circuit, since the waveform data repeatedly passes through and the removal capability of the low-pass filter 38 is improved, a frequency of a generally high value is often used as the cutoff frequency Fc provided to the amplifier 82 .

[0131] [action]

[0132] Next, the operation of the above-described embodiment will be described.

[0133] Fig.14 The diagram exemplifies the mapping structure of the waveform data of the string sound excitation pulse and the percussion sound read out according to the note pressed on the keyboard unit 11 and the velocity, and the level changes corresponding to the time of the generated string sound and percussion sound.

[0134] Fig.14 (A) shows a process of determining the memory read address of each waveform data of the string sound excitation pulse and the percussion sound when, for example, the note C3 is pressed at the speed of mf (mezzo forte) on the keyboard section 11.

[0135] like Fig.14 As shown in (A-1) of (A), the excitation pulses of the string sound stored in the excitation signal waveform memory 61 are prepared corresponding to the notes and three levels of speed: f (forte) / mf (mezzo forte) / p (piano), and the waveform data of the excitation pulses of the string sound corresponding to the memory address corresponding to the key is read out. For example, the waveform data of the notes is divided into 44 levels corresponding to 48 notes, and the pitch of the read waveform data is appropriately adjusted according to the keyed note.

[0136] On the other hand, Fig.14 As shown in (A-2) of (A), the waveform data of the percussion sound stored in the percussion sound waveform memory 62 are prepared corresponding to the three levels of velocity "f(forte) / mf(mezzo forte) / p(piano)" similar to the notes, and the waveform data of the percussion sound at the memory address "mf4" corresponding to the key is read. With respect to the notes, for example, one percussion sound waveform data is shared by about five adjacent notes, and the pitch of the read waveform data is appropriately adjusted according to the keyed note.

[0137] For both string sounds and percussion sounds, the more levels of waveform data corresponding to notes and speeds, the higher the sound quality. However, this also increases the memory capacities required for the excitation signal waveform memory 61 and the percussion sound waveform memory 62.

[0138] In this embodiment, the waveform data of a short excitation pulse after window-multiplying processing of the string sound for 2 to 3 wavelengths is stored in the excitation signal waveform memory 61, and is excited through a closed-loop circuit to generate the musical sound of the string sound. On the other hand, the percussion sound as a PCM sound source is a sound that directly musicalizes the waveform data stored in the percussion sound waveform memory 62.

[0139] Therefore, the capacity of each waveform data to be stored in the excitation signal waveform memory 61 and the percussion sound waveform memory 62 is significantly smaller than the waveform data of the excitation pulse of the string sound stored in the excitation signal waveform memory 61. Fig.14 As shown in (A), it is considered appropriate to set the waveform data of the string sound excitation pulse more finely to increase the number of levels and reduce the number of notes sharing one waveform data.

[0140] Fig.14 (B) shows the levels of the string sound corresponding to the key pressed on the keyboard section 11 and the damper resonance corresponding to the note of the percussion sound. The string sound level and the percussion sound level can be set separately. For example, when the (string sound level, percussion sound level) is (0.8, 0.3) without considering the damper resonance, the levels can be set according to the on / off of the damper resonance, such as (0.06, 0.03 (different for each note)) when the damper resonance is on and (0.07, 0.02 (different for each note)) when the damper resonance is off (= string resonance is on).

[0141] In addition, if Fig.14 As shown in (B), it is also effective to set the string sound level and the strike sound level for the damper resonance in accordance with the level of the pressed note. In particular, in the case of notes where the damper resonance sound is on the high-frequency side, by setting the strike sound level higher, the timbre characteristics of the damper resonance containing more overtones in the high-frequency range can be faithfully reproduced.

[0142] Next, the ratio of the addition of string sound and struck sound will be described.

[0143] In this embodiment, the ratio of addition can be changed by adopting a structure that separates the string sound model channel 63 from the percussion sound generation channel 64. Generally speaking, by further increasing the ratio of the string sound, a larger piano or a situation where the listening point is far from the piano can be reproduced. This is due to the following reasons:

[0144] A large piano has longer strings and a larger soundboard, so the vibration of the strings sounds louder.

[0145] The sound of a piano is composed of the fundamental tone and its overtones, and string sounds with clear frequency peaks are easy for people to recognize.

[0146] Conversely, by increasing the proportion of the struck sound, it is possible to reproduce the musical sound of a small piano or a case where the listening point is close to the piano.

[0147] As described above, by setting a structure in which the channels for generating string sound and percussion sound are separated, the ratio of their addition can be changed. The reason why the ratio of musical sound and damper resonance is different is that when the sound generated by pressing a key is transmitted to other strings and resonates, more components are transmitted through the bridge, and the ratio of percussion sound in the transmitted components increases. Therefore, the damper resonance sound synthesized with the percussion sound component at a greater ratio becomes a sound similar to that of an acoustic piano.

[0148] The following describes the content of the setting process corresponding to each operation. The processes corresponding to these operations are all mainly executed and controlled by the CPU 13A.

[0149] Fig.15 (A) is a flowchart showing the processing contents when a preset tone is selected. When a preset tone is selected, first, CPU 13A prepares Fig.14 The string sound level (a13a1) and the percussion sound level (s13a2) corresponding to the selected timbre as shown in (B-1) and (B-2) of (B) (step S101). Then, the CPU 13A sets the level of the musical sound (step S102), and sets the resonance sound level (s13a3, s13a4) corresponding to the state of the damper pedal 12 (step S103), and the above process corresponding to the selection of the preset timbre is terminated, and the process for waiting for the performance operation is returned.

[0150] In this way, by selecting one from a plurality of preset timbres, various additive synthesis ratios can be set, thereby simplifying the complicated operations required before playing a musical instrument, maintaining the diversity of expression, and facilitating actual processing.

[0151] Here, as the preset timbre, for example, the struck sound is louder when the damper pedal 12 is on, and the string sound is louder when the damper pedal 12 is off. In addition, it is considered that the level for damper resonance is set to about 1 / 10 of the resonance feedback value relative to the level for musical sound output.

[0152] Fig.15 (B) means that except Fig.15Flow chart of the processing contents in the case of an operation of changing the ratio of the current timbre, string sound, and percussion sound in addition to the operation of selecting the preset timbre described in (A). During the processing, CPU13A first responds to the operation by correcting the string sound level (s13a1) and percussion sound level (s13a2) for each musical sound output selected by the preset operation to the respectively specified change ratio (step S201).

[0153] Furthermore, CPU 13A sets the level of the resonance sound (s13a3, s13a4) according to the state of the damper pedal 12 (step S203) based on the level of the musical sound (step S202), and then ends the processing and returns to the processing for waiting for the performance operation.

[0154] In this way, the individual ratio change operations for the current timbre, string sound, and percussion sound become a process of further arbitrarily adjusting the levels of the presets called by the user of the electronic keyboard instrument 10, and the user's preferred timbre can be freely set according to the fine-tuning operations applied by the user to the preset selection.

[0155] Fig.16 (A) is a flowchart showing the processing contents executed by the CPU 13A when a key is pressed on the keyboard 11. When a key is pressed on the keyboard 11, the CPU 13A first obtains the key according to the note and velocity of the key. Fig.14 The read-out address shown in (A) reads out the waveform data (s61) of the excitation pulse signal of the string sound and the waveform data (s62) of the percussion sound respectively through the excitation signal waveform memory 61 and the percussion sound waveform memory 62 (step S301).

[0156] At the same time, regarding string sound, CPU13A sets the integer part Pt_r[n] of the string length delay of the delay time of the delay circuit 36 ​​of the string sound model channel 63 through the note event processing unit 31, its decimal part Pt_f[n] to the all-pass filter 37, the cutoff frequency Fc[n] of the low-pass filter 38, and the feedback amount (s313) to the amplifier 39 according to the speed and the note (step S302).

[0157] In addition, regarding the percussion sound, CPU13A sets the cutoff frequency Fc (s316) of the low-pass filter 92 of the percussion sound generating channel 64 and the volume (s317) of the envelope generator 42 through the note event processing unit 31 according to the velocity and the note (step S303).

[0158] After such setting, CPU13A immediately starts the pronunciation of string sound in the string sound model channel 63 (s311), and starts the pronunciation of percussion sound in the percussion sound generating channel 64 (s315) (step S304), thereby completing the processing corresponding to the key press and returning to the processing for waiting for the next performance operation.

[0159] Fig.16 (B) is a flowchart showing the processing contents executed by the CPU 13A when a key is released from a key on the keyboard 11. When a key is released from the keyboard 11, the CPU 13A first obtains the string sound model channel 63 and the percussion sound generation channel 64 to be sounded according to the keyed note (step S401).

[0160] On this basis, regarding the string sound, the CPU 13A sets the feedback amount (s313) according to the note and velocity to the amplifier 39 of the string sound model channel 63 as a resource through the note event processing unit 31 (step S402).

[0161] In addition, regarding the percussion sound, CPU13A sets the volume (s317) when releasing (resonance) the percussion sound generating channel 64 as a resource in the envelope generator 42 through the note event processing unit 31 according to the speed and the note (step S403), thereby completing the processing corresponding to the key release and returning to the processing for waiting for the performance operation.

[0162] Fig.17 (A) is a flowchart showing the content of processing executed by the CPU 13A when the damper pedal 12 is turned on by being depressed.

[0163] When the damper pedal 12 is first depressed, the CPU 13A sets the damper resonance string sound level for the on operation of the damper pedal 12 to the amplifier 68A (s13a3), and sets the damper resonance striking sound level for the on operation to the amplifier 68B (s13a4) (step S501).

[0164] Furthermore, the CPU 13A sets the tone corresponding to the note corresponding to the further on / off operation of the damper pedal 12. Fig.14 The damper resonance string sound level (s13a3) and Fig.14 The damper resonance striking sound level (s13a4) shown in (B-2) (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.

[0165] Fig.17 (B) is a flowchart showing the content of processing executed by the CPU 13A when the depression of the damper pedal 12 is released by the OFF operation.

[0166] When the depression of the damper pedal 12 is first released, the CPU 13A sets the damper resonance string sound level (s13a3) for the OFF operation of the damper pedal 12 to the amplifier 68A, and sets the damper resonance strike sound level (s13a4) for the OFF operation to the amplifier 68B (step S601).

[0167] Furthermore, the CPU 13A sets the tone corresponding to the note in accordance with the further on / off operation of the damper pedal 12. Fig.14 The damper resonance string sound level (s13a3) and Fig.14 The damper resonance striking sound level (s13a4) shown in (B-2) (step S602) ends the processing corresponding to the OFF operation of the damper pedal 12, and returns to the processing for waiting for the performance operation.

[0168] In this way, the string sound level and the struck sound level of the damper resonance are variably set by pressing and releasing the damper pedal 12 , so that the string resonance and the damper resonance can be appropriately set according to the operation of the damper pedal 12 .

[0169] Furthermore, regarding the setting of the string sound level and the struck sound level of the damper resonance described above, the levels corresponding to the pressed notes are set, thereby being able to express the timbre of musical sounds more faithfully reproduced from an actual acoustic piano or the like.

[0170] In addition, Figure 8 In the figure, the functional structure of the entire hardware of the sound source DSP13C at the installation level of the sound source channel that generates string sounds and percussion sounds is described, but a simpler structure can also be considered.

[0171] Fig.18 is an example instead of Figure 8 A block diagram of the functional structure of the Fig.18 In the example, the adder 69 allows the addition result of the musical sound signal of the string sound and the musical sound signal of the percussion sound output to the next stage D / A conversion unit 13D to be fed back to the string sound model channel 63 via the delay holding unit 67A and the amplifier 68A at the same time.

[0172] The amplifier 68A attenuates the musical sound signal delayed and output by the delay holding section 67A according to the provided damper resonance string sound level and feeds it back to the string sound model channel 63 .

[0173] As described above, the damper resonance string sound level is set by switching the setting so that the level of the resonance sound is different when the damper pedal 12 is operated and when the damper pedal 12 is not operated, but the same setting may be used without switching the setting.

[0174] By setting the function structure as such, Figure 8 Compared with the structure shown in the figure, the structure can be simplified and the real piano sound produced by string sound and struck sound can be produced.

[0175] As described above in detail, according to the present embodiment, natural musical sounds can be generated satisfactorily without increasing the amount of calculation.

[0176] In addition, in the present embodiment, since the overlap of the frequency range is avoided by the string sound component and the percussion sound component, it is possible to simplify the control by treating each as an independent object.

[0177] Specifically, for example, by being able to individually set the additive synthesis ratio of the string sound and the struck sound, the distance from the instrument can be expressed through the musical sound heard, thereby improving the expressiveness.

[0178] Furthermore, in the present embodiment, by providing a path for feedback input of the resonance sound of the musical sound in the closed loop circuit, it is also possible to set the additive synthesis ratio of the string sound and the resonance sound, thereby reproducing the musical sound with further increased expressiveness.

[0179] Furthermore, in the present embodiment, the addition and synthesis ratio of the resonance sound according to the presence or absence of the depression operation of the damper pedal 12 can be variably set, so that musical sounds of various timbres can be expressed by turning the damper operation on and off.

[0180] Furthermore, in particular, in the present embodiment, when musical sounds of string sounds of a plurality of notes are simultaneously generated corresponding to a chord, an additive synthesis ratio can be set for each note, thereby being able to express a wider variety of timbres.

[0181] Furthermore, in the present embodiment, the addition synthesis ratio of the resonance sound and the string sound musical sound signal can be set for each note of the string sound musical sound signal according to whether the damper pedal 12 is operated, thereby being able to express a denser tone in more detail.

[0182] Furthermore, as described above, this embodiment has been described with reference to the case where it is applied to an electronic keyboard instrument, but the present invention is not limited to musical instruments or specific models.

[0183] However, as an electronic musical instrument, not only in the aforementioned acoustic piano, but also in various percussion instruments such as the dulcimer, dulcimer, and cimbalom, or string instruments such as the acoustic guitar, when utilizing a playing method called hammering on in which the strings are struck by the fingers, more realistic musical sounds can be produced by expressing musical sounds that include a large number of musical tone components of the spectrum that cannot be expressed only by the fundamental tone of the string and its regular overtones.

[0184] In addition, the invention of the present application is not limited to the above-mentioned embodiments, and various modifications can be made during the implementation stage without departing from the main purpose thereof. In addition, each embodiment can also be implemented in combination as appropriately as possible, in which case the effect of the combination can be obtained. Moreover, the inventions at various stages included in the above-mentioned embodiments can be extracted by appropriate combinations of the disclosed multiple structural elements. For example, even if several structural elements are deleted from all the structural elements shown in the embodiments, the problems described in the column of the problems to be solved by the invention can be solved. In the case where the effects described in the column of the effects of the invention can be obtained, the structure from which the structural elements are deleted can be extracted as an invention.

Claims

1. An electronic musical instrument, wherein: have: A plurality of performance operating members (11) for respectively specifying pitches; and At least 1 processor (13C), The at least one processor (13C), obtaining the designated pitch and the speed of operating the performance operating member, Obtaining windowed waveform data corresponding to the specified pitch and the speed, Acquire string sound data, the string sound data including both a fundamental tone component and a harmonic component based on the waveform data after the windowing process, acquiring percussion sound data, the percussion sound data not including the fundamental tone component and the harmonic component corresponding to the designated pitch but including components other than the fundamental tone component and the harmonic component, The string sound data and the percussion sound data are synthesized at a set ratio (45).

2. The electronic musical instrument according to claim 1, wherein: The at least one processor, Inputting the excitation signal waveform data corresponding to the specified pitch into a closed loop (s35-s41), the closed loop including processing of a time delay (36) determined according to the specified pitch, wherein the closed loop outputs the string sound data corresponding to the input excitation signal waveform data, Obtain the string sound data of the closed loop (s35~s41) output (s35).

3. The electronic musical instrument according to claim 2, wherein: A memory storing the excitation signal waveform data and the striking sound data is provided, According to the input of the excitation signal waveform data obtained from the memory to the string sound model channel including the closed loop, the string sound data is output from the string sound model channel, In response to the percussion sound data acquired from the memory being input to a percussion sound generation channel, the percussion sound data is output from the percussion sound generation channel.

4. The electronic musical instrument according to claim 3, wherein: The number of the excitation signal waveform data stored in the memory is greater than the number of the percussion sound data stored in the memory.

5. The electronic musical instrument according to any one of claims 1 to 4, wherein: The at least one processor, Detects the damper closing which indicates that the damper pedal is depressed. The string sound data and the percussion sound data are synthesized at the set ratio, and the ratio is set so that the synthesis ratio of the percussion sound data becomes higher when the damper closing is detected compared to the case where the damper closing is not detected.

6. The electronic musical instrument according to any one of claims 1 to 4, wherein: The at least one processor synthesizes the string sound data and the percussion sound data according to the set ratio, and the ratio is set so that the synthesis ratio of the percussion sound data becomes higher when a second pitch higher than the first pitch is specified, compared with a case where a first pitch is specified.

7. The electronic musical instrument according to any one of claims 1 to 4, wherein: The string sound data does not include any component other than the fundamental tone component and the overtone component.

8. An electronic musical instrument, wherein: have: A keyboard (11) having a plurality of playing operating elements for respectively specifying pitches; A tone selection operation element; and At least 1 processor (13C), The at least one processor (13C), obtaining the designated pitch and the speed of operating the performance operating member, Obtaining windowed waveform data corresponding to the specified pitch and the speed, Acquire string sound data, the string sound data including both a fundamental tone component and a harmonic component based on the waveform data after the windowing process, acquiring percussion sound data, the percussion sound data not including the fundamental tone component and the harmonic component corresponding to the designated pitch but including components other than the fundamental tone component and the harmonic component, The string sound data and the percussion sound data are synthesized at a ratio set according to the operation of the tone color selection operating member.

9. The electronic musical instrument according to claim 8, wherein: The string sound data does not include any component other than the fundamental tone component and the overtone component.

10. A method for generating musical sound, wherein: At least one processor (13C) of an electronic musical instrument, Acquire the specified pitch and speed of the performance operation. Obtaining windowed waveform data corresponding to the specified pitch and the speed, Acquire string sound data, the string sound data including both a fundamental tone component and a harmonic component based on the waveform data after the windowing process, acquiring percussion sound data, the percussion sound data not including the fundamental tone component and the harmonic component corresponding to the designated pitch but including components other than the fundamental tone component and the harmonic component, The string sound data and the percussion sound data are synthesized at a set ratio (45).

11. The method for generating musical sound according to claim 10, wherein: The at least one processor, Inputting the excitation signal waveform data corresponding to the specified pitch into a closed loop (s35-s41), the closed loop including processing of a time delay (36) determined according to the specified pitch, wherein the closed loop outputs the string sound data corresponding to the input excitation signal waveform data, Obtain the string sound data of the closed loop (s35~s41) output (s35).

12. The musical sound generating method according to claim 11, wherein: The at least one processor, According to the input of the excitation signal waveform data to the string sound model channel including the closed loop, the string sound data is output from the string sound model channel, In response to the percussion sound data acquired from the memory being input to the percussion sound generation channel, the percussion sound data is output from the percussion sound generation channel.

13. The musical sound generating method according to any one of claims 10 to 12, wherein: The at least one processor, Detects the damper closing which indicates that the damper pedal is depressed. The string sound data and the percussion sound data are synthesized at the set ratio, and the ratio is set so that the synthesis ratio of the percussion sound data becomes higher when the damper closing is detected compared to the case where the damper closing is not detected.

14. The musical sound generating method according to any one of claims 10 to 12, wherein: The at least one processor synthesizes the string sound data and the percussion sound data according to the set ratio, and the ratio is set so that the synthesis ratio of the percussion sound data becomes higher when a second pitch higher than the first pitch is specified, compared with a case where a first pitch is specified.

15. The musical sound generating method according to any one of claims 10 to 12, wherein: The string sound data does not include any component other than the fundamental tone component and the overtone component.

16. A method for generating musical sound, wherein: At least one processor (13C) of an electronic keyboard instrument, Acquire the specified pitch and speed of the performance operation. Obtaining windowed waveform data corresponding to the specified pitch and the speed, Acquire string sound data, the string sound data including both a fundamental tone component and a harmonic component based on the waveform data after the windowing process, acquiring percussion sound data, the percussion sound data not including the fundamental tone component and the harmonic component corresponding to the designated pitch but including components other than the fundamental tone component and the harmonic component, The string sound data and the percussion sound data are synthesized at a ratio set according to an operation of a tone color selection operating member.

17. The musical sound generating method according to claim 16, wherein: The string sound data does not include any component other than the fundamental tone component and the overtone component.

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