Electronic musical instrument, method, and storage medium

Abstract

An electronic musical instrument includes a performance operation member and at least one processor. The at least one processor, based on a first operation on the performance operation member, instructs the generation of a first musical tone, and during the generation of the first musical tone, based on a second operation on the performance operation member, obtains a first amplitude value of the first musical tone at a timing corresponding to the second operation, and also obtains a second amplitude value of a second musical tone to be generated based on the second operation. Based on the ratio of the first amplitude value to the second amplitude value, the at least one processor obtains a parameter value for determining at least one of the pitch, timbre, and volume of the second musical tone, and instructs the generation of the second musical tone corresponding to the obtained parameter value.

Description

Technical Field

[0001] The present disclosure relates to electronic musical instruments, methods, and storage media. Background Art

[0002] In electronic musical instruments, there is known a technique in which, when performing an operation to continuously sound a musical tone on a performance operation member for the same pitch (hereinafter referred to as "rapid-fire operation"), a change is given to the musical tone so that the musical tone can sound natural.

[0003] Refer to Japanese Unexamined Patent Application Publication No. 2020-129040. Summary of the Invention

[0004] However, there is room for improvement in techniques for making musical tones produced during rapid-fire operations on electronic musical instruments closer to natural musical tones.

[0005] The present invention has been made in view of the above circumstances, and an object thereof is to provide an electronic musical instrument, a method, and a program that have improvements for making musical tones produced during rapid-fire operations closer to natural musical tones.

[0006] An electronic musical instrument according to an embodiment of the present invention includes: a performance operation member; and at least one processor that, based on a first operation on the performance operation member, instructs the sounding of a first musical tone, obtains a first amplitude value of the first musical tone at a timing corresponding to the second operation during the sounding of the first musical tone, and obtains a second amplitude value of a second musical tone to be sounded based on the second operation, obtains a parameter value for determining at least one of pitch, timbre, and volume of the second musical tone based on a ratio of the first amplitude value to the second amplitude value, and instructs the sounding of the second musical tone corresponding to the obtained parameter value.

[0007] According to an embodiment of the present invention, there is provided an electronic musical instrument, a method, and a storage medium storing a program that have improvements for making musical tones produced during rapid-fire operations closer to natural musical tones. Brief Description of the Drawings

[0008] Figure 1 is a block diagram showing the structure of an electronic musical instrument according to an embodiment of the present invention.

[0009] Figure 2 is a block diagram showing the structure of a sound source included in an electronic musical instrument according to an embodiment of the present invention.

[0010] Figure 3A is a diagram showing an example of a pitch envelope output from a pitch envelope generator provided in a sound source according to an embodiment of the present invention.

[0011] Figure 3B This is a diagram showing an example of a filtered envelope output from a filtered envelope generator provided in a sound source, which represents one embodiment of the present invention.

[0012] Figure 3C This is a diagram showing an example of an amplified envelope output from an amplified envelope generator provided in a sound source, which represents one embodiment of the present invention.

[0013] Figure 4 This is a schematic diagram of the action mechanism of an acoustic piano.

[0014] Figure 5 This is a schematic diagram showing the state of the action mechanism when Figure 4 the acoustic piano is keyed.

[0015] Figure 6 This is a flowchart of key processing executed by a processor of an electronic musical instrument in one embodiment of the present invention.

[0016] Figure 7 This is a flowchart of key processing executed by a processor of an electronic musical instrument in one embodiment of the present invention.

[0017] Figure 8 This is a flowchart of generator section allocation processing executed by a processor of an electronic musical instrument in one embodiment of the present invention.

[0018] Figure 9 This is a graph showing the relationship between the amplitude value of a second musical tone corresponding to a second operation and the velocity value at the time of the second operation in one embodiment of the present invention.

[0019] Figure 10 This is a graph showing the relationship for determining the parameter value of a second musical tone and the ratio of a first amplitude value to a second amplitude value in one embodiment of the present invention.

[0020] Figure 11 This is a diagram showing the amplitude values of a first musical tone and a second musical tone in Comparative Example 1.

[0021] Figure 12 This is a diagram showing the amplitude values of a first musical tone and a second musical tone in Example 1.

[0022] Figure 13 This is a diagram showing the amplitude values of a first musical tone and a second musical tone in Comparative Example 2.

[0023] Figure 14 This is a diagram showing the amplitude values of a first musical tone and a second musical tone in Example 2.

[0024] Figure 15 This is a diagram showing the amplitude values of a first musical tone and a second musical tone in Comparative Example 3.

[0025] Figure 16 This is a diagram showing the amplitude values of the first and second musical tones in Embodiment 3. Detailed implementation

[0026] With reference to the accompanying drawings, an electronic musical instrument according to an embodiment of the present invention will be described in detail. In addition, a method and a program according to an embodiment of the present invention are implemented by causing a computer (circuit component) of the electronic musical instrument to execute various processes.

[0027] Figure 1 This is a block diagram showing the structure of the electronic musical instrument 1. In the present embodiment, the electronic musical instrument 1 is, for example, an electronic piano, and is configured to be able to hear natural musical tones (for example, musical tones close to the characteristics of acoustic musical instruments) by moderately changing the pitch, timbre, and volume during a rapid consecutive key operation on keys of the same pitch.

[0028] In addition, the technology of the present invention for producing natural musical tones during a rapid consecutive key operation can also be applied to electronic musical instruments other than electronic pianos. Specifically, the case where an acoustic musical instrument (illustrated as a percussion instrument, a plucked string instrument, a struck string instrument, a chromatic percussion instrument, etc.) of a type that produces musical tones by applying an impact to a vibrating body is configured as an electronic musical instrument also falls within the scope of the present invention.

[0029] As Figure 1 shown, the electronic musical instrument 1 includes a processor 10, a RAM (Random Access Memory) 11, a ROM (Read Only Memory) 12, a switch panel 13, an input / output interface 14, an LCD (Liquid Crystal Display) 15, an LCD controller 16, a keyboard 17, a key scanner 18, a sound source LSI (Large Scale Integration) 19, a D / A converter 20, and an amplifier 21 as a hardware structure. Each part of the electronic musical instrument 1 is connected by a bus 22.

[0030] The processor 10 reads programs and data stored in the ROM 12, and generally controls the electronic musical instrument 1 by using the RAM 11 as a working area.

[0031] The processor 10 is, for example, a single processor or a multi-processor, and includes at least one processor. In the case of a structure including multiple processors, the processor 10 may be packaged as a single device, or may be composed of multiple devices physically separated within the electronic musical instrument 1.

[0032] The processor 10 includes, as functional blocks: a tone indication unit 101 that indicates the generation of a first tone according to a first operation on a performance operation member; an amplitude value acquisition unit 102 that acquires a first amplitude value of the first tone according to a second operation on the performance operation member during the generation period of the first tone, and also acquires a second amplitude value of a second tone that is to be generated according to the second operation; and a parameter value acquisition unit 103 that acquires a parameter value for determining at least one of the pitch, timbre, and volume of the second tone based on the ratio between the first amplitude value and the second amplitude value. The tone indication unit 101 indicates the generation of the second tone corresponding to the parameter value acquired by the parameter value acquisition unit 103. Additionally, Figure 1 Each functional block of the illustrated processor 10 can be implemented by software, and in addition, part or all of them can be implemented by hardware such as dedicated logic circuits.

[0033] In addition, in this specification, two consecutive key operations are defined as the first operation and the second operation. "Two consecutive key operations" means that the next key operation is performed during the generation period corresponding to the first key operation. Therefore, the second operation means the next operation of the first operation that is performed during the generation period corresponding to the first operation (the generation period of the first tone). As a supplement, in the case of three consecutive key operations (that is, when the next key operation is performed during the generation periods of the two tones corresponding to the two consecutive key operations), the second key operation becomes the first operation, and the third key operation becomes the second operation.

[0034] The RAM 11 temporarily stores data and programs. The RAM 11 holds programs and data read from the ROM 12, as well as other data required for communication.

[0035] The ROM 12 is a non-volatile semiconductor memory such as a flash memory, an EPROM (Erasable Programmable ROM), or an EEPROM (Electrically Erasable Programmable ROM), and serves as a secondary storage device or an auxiliary storage device. The ROM 12 stores, for example, waveform data 121. Incidentally, programs and data used by the processor 10 for performing various processes, as well as data generated or acquired through various processes performed by the processor 10, are stored in the ROM 12.

[0036] The switch panel 13 is an example of an input device. When the user operates the switch panel 13, a signal indicating the content of the operation is output to the processor 10 via the input / output interface 14. The switch panel 13 is constituted by, for example, key switches, buttons, etc. of a mechanical method, a capacitive non-contact method, a thin film method, etc. The switch panel 13 can also be a touch panel.

[0037] The LCD 15 is an example of a display device. The LCD 15 is driven by the LCD controller 16. When the LCD controller 16 drives the LCD 15 in accordance with the control signal from the processor 10, a screen corresponding to the control signal is displayed on the LCD 15. The LCD 15 can also be replaced with a display device such as an organic EL (Electro Luminescence) or an LED (Light Emitting Diode). The LCD 15 can be a touch panel. In this case, the touch panel can be used as both an input device and a display device.

[0038] The keyboard 17 has a keyboard with a plurality of white keys and black keys as a plurality of performance operation members. Each key corresponds to a different pitch.

[0039] The key scanner 18 monitors the key pressing and key releasing of the keyboard. When, for example, a key pressing operation by the user is detected, the key scanner 18 outputs key event information to the processor 10. The key event information includes the pitch (key number) of the key involved in the key pressing operation and its speed (velocity value). The velocity value can also be said to be a value representing the intensity of the key pressing operation.

[0040] The processor 10 operates as a tone indication unit 101, and the tone indication unit 101 indicates the sounding of a tone according to an operation (first operation or second operation) on a key (performance operation member). The sound source LSI 19 generates a tone based on the indication from the processor 10 and based on the waveform data read from the ROM 12. In the present embodiment, the sound source LSI 19 can simultaneously emit 128 tones. Further, in the present embodiment, the processor 10 and the sound source LSI 19 are configured as separate devices, but in another embodiment, the processor 10 and the sound source LSI 19 can be configured as one processor.

[0041] In the waveform data 121 stored in the ROM 12, waveform data information of various timbres such as "guitar" or "piano" is registered. In the waveform data information of various timbres, waveform data for all key numbers of the target timbre (for example, piano) is registered. More specifically, for each key number, waveform data corresponding to the velocity value (that is, the intensity of the operation on the performance operation member) is registered. For example, when 1 < n1 < n2 < n3 < 127, for each key number, waveform data corresponding to a low velocity value (1 or more and less than n1), waveform data corresponding to a slightly lower velocity value (n1 or more and less than n2), waveform data corresponding to a slightly higher velocity value (n2 or more and less than n3), and waveform data corresponding to a high velocity value (n3 or more and 127 or less) are registered.

[0042] The processor 10 sets the timbre (such as guitar, piano, etc.) of the music sound according to the user's operation on the switch panel 13. The processor 10 reads out the key event information (i.e., the key number pressed and the strength value at the time of key pressing) and the waveform data corresponding to the currently set timbre from the waveform data 121.

[0043] The sound signal of the music sound generated by the sound source LSI 19 is DA-converted by the D / A converter 20 and then amplified by the amplifier 21, and output to a speaker (not shown).

[0044] Figure 2 It is a block diagram showing the structure of the sound source LSI 19. As Figure 2 shown, the sound source LSI 19 includes 128 generator sections 19A_1 to 19A_128 and a mixer 19B. The generator sections 19A_1 to 19A_128 are provided corresponding to 128 simultaneous sounding channels respectively. The mixer 19B mixes the outputs from the generator sections 19A_1 to 19A_128 to generate a music sound, and outputs the generated music sound to the D / A converter 20. In addition, Figure 2 each functional block of the sound source LSI 19 shown can be implemented by software, and in addition, it can also be implemented partially or entirely by hardware such as dedicated logic circuits.

[0045] Each of the generator sections 19A_1 to 19A_128 includes a waveform generator 19a, a pitch envelope generator 19b, a filter 19c, a filter envelope generator 19d, an amplifier 19e, an amplification envelope generator 19f, and an envelope detector 19g.

[0046] The waveform generator 19a reads out the waveform data corresponding to the instruction of the processor 10 from the ROM 12 at a pitch corresponding to the pitch envelope waveform output from the pitch envelope generator 19b.

[0047] The pitch envelope generator 19b causes the pitch when the waveform generator 19a reads out the waveform data from the ROM 12 to change with time.

[0048] Figure 3A shows an example of the pitch envelope output from the pitch envelope generator 19b. In Figure 3A it, the vertical axis represents the pitch level, and the horizontal axis represents time. The variable range of the pitch level is -1200 cents to +1200 cents (-1 octave to +1 octave), and the level of this envelope is added to the played pitch.

[0049] The tone envelope generator 19b outputs a tone envelope corresponding to the instruction of the processor 10 from among three tone envelopes at key press, key release, and multiple-stroke silencing. The tone envelope at key press starts from the level L0, reaches the level L1 at the speed R1, then decreases at the speed R2, and maintains the fixed level "0" reached when the key is continuously pressed. The tone envelope at key release reaches the level L3 at the speed R3 from the level at the key release time point, then decreases at the speed R4, and finally maintains at the level L4. Since the current sound generation is stopped while new sound generation processing is being performed, the tone envelope at multiple-stroke silencing approaches the level L5 at the speed R5.

[0050] The filter 19c changes the cutoff frequency according to the filtering envelope output from the filtering envelope generator 19d, and adjusts the frequency characteristics of the waveform data output from the waveform generator 19a.

[0051] The filtering envelope generator 19d causes the cutoff frequency of the filter 19c to change over time.

[0052] Figure 3B Shows an example of the filtering envelope output from the filtering envelope generator 19d. In Figure 3B the vertical axis represents the level of the cutoff frequency of the filter 19c, and the horizontal axis represents time. The variable range of the level of the cutoff frequency is from a minimum value of 0 to a maximum value of 1.0.

[0053] The filtering envelope generator 19d outputs a filtering envelope corresponding to the instruction of the processor 10 from among three filtering envelopes at key press, key release, and multiple-stroke silencing. The filtering envelope at key press starts from the level L0, reaches the level L1 at the speed R1, then decreases at the speed R2, and maintains the level L2. The filtering envelope at key release reaches the level L3 at the speed R3 from the level L2 at the key release time point, then decreases at the speed R4, and finally maintains at the level L4. Since the current sound generation is stopped while new sound generation processing is being performed, the filtering envelope at multiple-stroke silencing approaches the level L5 at the speed R5.

[0054] The amplifier 19e changes the amplification factor according to the amplification envelope output from the amplification envelope generator 19f, and adjusts the volume of the waveform data output from the filter 19c.

[0055] The amplification envelope generator 19f causes the amplification factor of the amplifier 19e to change over time.

[0056] Figure 3C Shows an example of the amplification envelope output from the amplification envelope generator 19f. In Figure 3C the vertical axis represents the level of the amplification factor of the amplifier 19e, and the horizontal axis represents time. The variable range of the level of the amplification factor is from a minimum value of 0 to a maximum value of 1.0.

[0057] The envelope generator 19f outputs an envelope corresponding to the instruction from the processor 10 from among three envelopes at key-on, key-off, and double-hit mute. The envelope at key-on starts from the level L0, reaches the level L1 at the speed R1, then decreases at the speed R2, and maintains the level L2. The envelope at key-off starts from the level L2 at the key-off time point, reaches L3 at the speed R3, then decreases at the speed R4, and finally maintains at the fixed level "0". Since the current sound production is stopped while new sound production processing is being performed, the envelope at double-hit mute approaches the level "0" at the speed R5.

[0058] The envelope detector 19g detects the envelope of the waveform output from the amplifier 19e. For example, the envelope detector 19g takes the absolute value of the waveform output from the amplifier 19e through a rectifier circuit and smoothes the waveform with the absolute value through a low-pass filter, thereby detecting the envelope (in other words, the amplitude value) of the waveform output from the amplifier 19e.

[0059] In addition, if the level of the waveform is normalized, the value of the envelope generator 19f can also be applied as the envelope of the waveform output from the amplifier 19e. Even if the level of the waveform is not normalized, the virtual level envelope generator can be driven separately for each generator section, and the value obtained by the level envelope generator can be applied as the envelope of the waveform output from the amplifier 19e.

[0060] Here, the characteristics of the musical sound generated when an impact is applied to a vibrating body in an acoustic piano, which is an example of an acoustic musical instrument, will be described. Figure 4 It is a schematic diagram of the action mechanism of the acoustic piano. Figure 5 It is a schematic diagram showing the states of the hammer 900 (impact body) and the string 902 (vibrating body) at key-on. In these diagrams, the vibration of the string 902 is schematically represented by showing dotted lines or dashed lines at least on one of the upper and lower sides of the string 902.

[0061] As Figure 4 shown, when the key 904 is struck, the damper 906 of the string 902 is inhibited from rising and separating from the string 902. In the state where the damper 906 is separated from the string 902, the string 902 is struck by the hammer 900, and the string 902 vibrates to generate a musical sound.

[0062] In the case where the user performs a double-hit operation, the hammer 900 strikes the vibrating string 902. In this case, since the vibration wave moves on the string 902, the position (phase) of the wave at the time point when the hammer 900 collides with the string 902 is basically different each time.

[0063] In addition, as Figure 5As shown in Example 1, when the hammer 900 strikes the string 902 while the string 902 is stationary, the string 902 is struck at the speed of the hammer 900. In contrast, as Figure 5 shown in Example 2, when the vibrating string 902 collides with the hammer 900 while moving downward (toward the direction of the hammer 900), the relative speed of the hammer 900 and the string 902 is greater than that in Example 1 (the state where the string 902 is stationary). Further, as Figure 5 shown in Example 3, when the vibrating string 902 collides with the hammer 900 while moving upward (in the direction away from the hammer 900), the relative speed of the hammer 900 and the string 902 is less than that in Example 1.

[0064] These accidental factors (i.e., which phase of the wave on the string 902 is the collision point of the hammer 900 with the string 902, what is the relative speed when they collide, etc.) are related to the vibration amplitude of the string 902 after the key is pressed and the characteristics of the overtone components, and affect the timbre and volume of the musical sound. Therefore, the pitch, timbre, and volume of the musical sound during the rapid consecutive key operation change uncertainly. Thus, if the same pitch, timbre, and volume are repeated during the rapid consecutive key operation, a so-called mechanical feeling is generated, and the musical sound during the rapid consecutive key operation sounds unnatural.

[0065] Therefore, in the present embodiment, the key process described below is executed so that the musical sound during the rapid consecutive key operation sounds close to a natural musical sound.

[0066] In the key process of the present embodiment, based on the ratio of the current amplitude value (first amplitude value a) of the vibrating body that is to be impacted by the rapid consecutive key operation and the intensity (second amplitude value b) of the current key press, the pitch, timbre, and volume of the musical sound (second musical sound) to be generated this time are controlled. The generator units 19A_1 to 19A_128 correspond to the vibrating body here. The amplitude value (first amplitude value a) of the vibrating body is detected by the envelope detector 19g of the generator unit.

[0067] In the case where the interval between the rapid consecutive key operations is short, although it is instantaneous, a situation may occur where musical sounds of the same key number are generated in parallel by a plurality of generator units. The generator units that generate musical sounds of the same key number are treated as the same vibrating body. The sum of the detection values of the envelope detectors 19g of all the generator units that generate musical sounds of the same key number is treated as the current amplitude value (first amplitude value a) of that key number.

[0068] The musical sound generated when a relatively large impact is applied to a vibrating body with a relatively small vibration has a relatively small difference from the musical sound generated when an impact is applied in a state where the vibrating body is stationary (for convenience, denoted as "stationary state musical sound"). In contrast, the musical sound generated when a relatively small impact is applied to a vibrating body with a relatively large vibration has a relatively large difference from the stationary state musical sound. That is, there is a tendency that the larger the ratio (a / b) of the current amplitude value (first amplitude value a) of the vibrating body to the intensity of the current key press (second amplitude value b), the greater the difference in the musical sound during the continuous strike operation. In addition, the "difference" is indeterminately generated due to the accidental factors exemplified above, and represents the amount of change in the musical sound generated when an impact is applied to the vibrating body during vibration with respect to the stationary state musical sound.

[0069] As an example, when the hammer 900 contacts the greatly vibrating string 902 at a slow speed, the string 902 will also violently collide with the hammer 900, so the impact between the two is large. In addition, the waveform moving on the string 902 is likely to change complexly. Therefore, in the musical sound generated at this time, there is a tendency that it contains complex overtones not present in the stationary state musical sound, or the volume becomes larger. In the key press processing described below, the musical sound is generated considering such changes, so the musical sound during the continuous strike operation sounds natural.

[0070] Figure 6 It is a flowchart of the key press processing executed by the cooperation of the processor 10 and each part of the electronic musical instrument 1. As Figure 6 shown, the processor 10 determines whether a key press operation is detected (step S1). When key event information indicating the key number and the intensity value of the key involved in the key press operation is input from the key scanner 18 to the processor 10, the key press operation is detected (step S1: Yes).

[0071] When a key press operation is detected (step S1: Yes), the processor 10 determines whether the musical sound corresponding to the operation of the key with the same key number as the key number obtained in step S1 (i.e., the first musical sound) is in the sounding period (step S2). In the case where the first musical sound is not in the sounding period (step S2: No), the processor 10 instructs the sound source LSI 19 to sound corresponding to the key event information obtained in step S1 (in other words, instructs the sounding of the first musical sound) (step S3). That is, in step S3, the processor 10 acts as the musical sound instruction unit 101, and the musical sound instruction unit 101 instructs the sounding of the first musical sound according to the first operation on the key (performance operation member). According to this sounding instruction, the waveform data starts to be read out in the generator unit, and the envelopes start to be output from each envelope generator.

[0072] When the first musical tone is being played (step S2: Yes), the processor 10 obtains the first amplitude value a of the first musical tone (e.g., the amplitude value of the first musical tone at the second operation time point), and obtains the second amplitude value b of the second musical tone to be played according to the current key operation, i.e., the second operation (step S4). That is, in step S4, the processor 10 acts as the amplitude value acquisition unit 102, and the amplitude value acquisition unit 102 obtains the first amplitude value a of the first musical tone according to the second operation (operation on the key with the same key number as the first operation) on the key (performance operation part) during the playing period of the first musical tone, and obtains the second amplitude value b of the second musical tone to be played according to the second operation.

[0073] The processor 10 obtains the parameter value r based on the ratio of the first amplitude value a and the second amplitude value b obtained in step S4 (step S5), and instructs the sound source LSI 19 to play the second musical tone corresponding to the obtained parameter value r (in other words, the sound corresponding to the second operation) (step S6). According to this sound instruction, the generator unit starts reading the waveform data and starts outputting the envelopes from each envelope generator.

[0074] The parameter value r is a parameter value for determining at least one of the pitch, timbre, and volume of the second musical tone, which will be described in detail later. Thus, in step S5, the processor 10 acts as the parameter value acquisition unit 103, and the parameter value acquisition unit 103 obtains the parameter value r for determining at least one of the pitch, timbre, and volume of the second musical tone based on the ratio of the first amplitude value a and the second amplitude value b. In addition, in step S6, the processor 10 acts as the sound instruction unit 101, and the sound instruction unit 101 instructs the playing of the second musical tone corresponding to the parameter value r obtained in step S5.

[0075] By playing the second musical tone corresponding to the parameter value r, the tendency of the change of the second musical tone can be reproduced more faithfully (i.e., the greater the ratio (a / b), the greater the change of the second musical tone), and the sound during the consecutive hitting operation can be made closer to the characteristics of the natural sound like an acoustic musical instrument.

[0076] As described above, at the second operation time point, when the first musical tone corresponding to the previous key operation is being played, the processes of steps S4 to S6 Figure 6 are executed. By executing the processes of steps S4 to S6, the sound during the consecutive hitting operation can be made closer to the natural sound characteristics. Therefore, the detailed situation of the processes of steps S4 to S6 is described using Figure 7 the flowchart.

[0077] As Figure 7 shown, the processor 10 obtains the key number included in the key event information input by the key scanner 18 (step S101).

[0078] The processor 10 performs generator part allocation processing, and in the generator part allocation processing, the allocation of the generator part used in the tone generation based on the key number obtained in step S101 is performed (step S102).

[0079] In the generator part allocation processing, the generator parts that are currently not used for tone generation are detected from the generator parts 19A_1 to 19A_128, and the detected generator parts are allocated as the generator parts for tone generation. When all the generator parts 19A_1 to 19A_128 are used for tone generation, the generator part with the lowest envelope level of the waveform is subjected to a dump process, and the generator part of the dump process is allocated as the generator part for tone generation.

[0080] Figure 8 It is a flowchart of the generator part allocation processing.

[0081] As Figure 8 shown, the processor 10 sets the first amplitude value a to zero (step S201). The first amplitude value a is the current amplitude value of the tone emitted by the key operation of the key whose key number was pressed this time up to the previous time, and can also be denoted as "the first amplitude value of the first tone corresponding to the first operation". Here, the sum value of the envelopes detected by each envelope detector 19g becomes the first amplitude value a.

[0082] Numbers 1 to 128 are respectively assigned to the generator parts 19A_1 to 19A_128. The processor 10 sets the variable n to 1, and the variable n represents the number of the generator part of the object whose state is to be confirmed (step S202). For convenience, the generator part of the object whose state is to be confirmed is denoted as the "object generator part".

[0083] The processor 10 confirms the state of the object generator part assigned the same number as the variable n (step S203). Specifically, the processor 10 confirms whether the object generator part is currently being used for tone generation.

[0084] When the object generator part is currently being used for tone generation (step S203: Yes), the processor 10 obtains the value of the envelope detected by the envelope detector 19g of the object generator part (step S204). The obtained envelope value is from the minimum value 0 to the maximum value 100.

[0085] The processor 10 compares the value of each envelope obtained in step S204 up to the start of the generator part allocation processing with the value of the envelope obtained in this step S204, and determines whether the value of the envelope obtained in this step S204 is the minimum value (step S205).

[0086] When the value of the envelope obtained in this step S204 is the minimum value (step S205: Yes), the processor 10 sets the object generator unit as a candidate to be used in the generation of the musical tone corresponding to the current key operation (step S206). For convenience, the generator unit set as the candidate is referred to as the "assigned candidate generator unit". In addition, when the assigned candidate generator unit has already been set, the object generator unit is set as the new assigned candidate generator unit by overwriting. When the value of the envelope obtained in this step S204 is not the minimum value (step S205: No), the processor 10 does not set the object generator unit as the assigned candidate generator unit.

[0087] The processor 10 determines whether the object generator unit is generating a musical tone with the same key number as the key number obtained in step S101 (step S207). When generating a musical tone with the same key number (step S207: Yes), the processor 10 adds the value of the envelope obtained in this step S204 to the first amplitude value a (step S208), and then proceeds to step S211. When generating a musical tone with a different key number (step S207: No), the processor 10 does not add the value of the envelope to the first amplitude value a and proceeds to step S211.

[0088] When the object generator unit is not currently used for generating a musical tone (step S203: No), the processor 10 determines whether a generator unit for generating a musical tone corresponding to the current key operation has already been assigned (step S209). For convenience, the generator unit assigned to generate a musical tone corresponding to the current key operation is referred to as the "used assigned generator unit".

[0089] When the used assigned generator unit has not been assigned (step S209: No), the processor 10 assigns the object generator unit as the used assigned generator unit (step S210) and proceeds to step S211. When the used assigned generator unit has already been assigned (step S209: Yes), the processor 10 does not execute step S210 and proceeds to step S211.

[0090] The processor 10 increments the variable n by 1 (step S211). The processor 10 determines whether the incremented variable n is 129 (step S212). When the variable n is not 129 (step S212: No), the processor 10 returns to step S203 and performs the processing after step S203 on the object generator unit assigned the same number as the incremented variable n.

[0091] When the variable n is 129 (step S212: Yes), it is the state where the status confirmation and other processes have been completed for all 128 generator units 19A_1 to 19A_128. Therefore, the processor 10 determines whether the usage-assigned generator unit has been completely assigned (step S213). When the usage-assigned generator unit has been assigned (step S213: Yes), the processor 10 ends Figure 8 the generator unit assignment process.

[0092] When the usage-assigned generator unit has not been assigned (step S213: No), the processor 10 assigns the finally set assignment candidate generator unit as the usage-assigned generator unit in step S206 (step S214), and performs a dump process on the assigned usage-assigned generator unit at a specified speed (for example, immediately) (step S215).

[0093] The processor 10 determines whether the usage-assigned generator unit on which the dump process has been performed has generated a musical tone with the same key number as the key number obtained in step S101 (step S216). When a musical tone has been generated with the same key number (step S216: Yes), the processor 10 subtracts the envelope value of the usage-assigned generator unit after the dump process (that is, the amount of sound cancellation in the dump process) from the first amplitude value a, and ends Figure 8 the generator unit assignment process. When a musical tone has been generated with a different key number (step S216: No), the processor 10 does not execute step S217 and ends Figure 8 the generator unit assignment process.

[0094] Return Figure 7 to the description. The processor 10 obtains the velocity value included in the key event information input by the key scanner 18 (step S103). Hereinafter, the velocity value is appended with the reference numeral v. The velocity value v ranges from a minimum value of 1 to a maximum value of 127.

[0095] The processor 10 uses the velocity value v representing the speed of the current key press (the intensity of the key press in other viewpoints) to obtain the second amplitude value b of the musical tone corresponding to the current key operation (step S104). Here, as a specific example of obtaining the second amplitude value b, a method of calculating the second amplitude value b using the following formula (1) is shown.

[0096] The second amplitude value b can be recorded as "the second amplitude value for the second musical sound corresponding to the current key operation (second operation)". That is, in steps S102 to S1044, the processor 10 obtains the first amplitude value a of the first musical sound according to the second operation (operation of a key having the same key number as the first operation) during the production of the first musical sound corresponding to the first operation on the performance operating member (a key of the keyboard 17 in this embodiment), and obtains the second amplitude value b for the second musical sound produced according to the second operation.

[0097] [Formula (1)]

[0098] b=(v / 127)2×100

[0099] Figure 9 is a graph showing the relationship between the second amplitude value b and the force value v calculated by equation (1). Figure 9 In FIG. 1 , the vertical axis represents the second amplitude value b, and the horizontal axis represents the force value v. Figure 9 As shown, the second amplitude value b increases exponentially according to the force value v. The second amplitude value b ranges from a minimum value of 0 to a maximum value of 100.

[0100] As described above, there is a tendency that the greater the ratio (a / b) of the current amplitude value of the vibrating body (first amplitude value a) to the current key strength (second amplitude value b), the greater the difference in the musical sound during the combo operation. Therefore, the processor 10 obtains a parameter value r indicating the degree of difference in the second musical sound (i.e., a value indicating the degree of change in the pitch, timbre, and volume of the second musical sound during the combo operation relative to the pitch, timbre, and volume of the musical sound in the static state) (step S105). Thus, in step S105, the processor 10 acts as a parameter value acquisition unit 103, which acquires a parameter value r for determining the pitch, timbre, and volume of the second musical sound based on the ratio (a / b).

[0101] Here, as a specific example of obtaining the parameter value r, a method of calculating the parameter value r using the following formula (2) is shown.

[0102] [Formula (2)]

[0103] r=log2(a / b)+N

[0104] N: Adjustment value for making the parameter value r a value above zero

[0105] Figure 10 is a graph showing the relationship between the parameter value r calculated by equation (2) and the ratio (a / b). Figure 10 In the figure, the vertical axis represents the parameter value r, and the horizontal axis represents the ratio (a / b). Figure 10As shown, the parameter value r increases logarithmically according to the ratio (a / b). In other words, the parameter value r is a value related to the ratio (a / b). Moreover, the larger the ratio (a / b), the larger the parameter value r.

[0106] When the ratio (a / b) is less than 1 / 2N, the parameter value r is restricted to zero.

[0107] If the ratio (a / b) becomes too large, the parameter value r also becomes too large, so it is possible to calculate the difference in the musical tones during a combo operation as an overly large value. Therefore, when the ratio (a / b) exceeds 2N, the parameter value r is restricted to a prescribed maximum value.

[0108] As an example, the adjustment value N is 5. In this case, when the ratio (a / b) is less than 1 / 32, the parameter value r is restricted to zero. Additionally, when the ratio (a / b) exceeds 32, the parameter value r is restricted to 10 which is the prescribed maximum value. When the ratio (a / b) is between 1 / 32 and 32, the parameter value r takes values from 0 to 10.

[0109] In order to impart a natural change (such as the change caused by the aforementioned accidental factors) to the pitch of the second musical tone corresponding to the current key operation (second operation), the processor 10 generates a random number rnd1 through a random function (step S106). The random number rnd1 is a value from -1 to +1.

[0110] The processor 10 acquires the pitch P of the second musical tone with a natural change imparted thereto (step S107). Here, as a specific example of acquiring the pitch P, a method of calculating the pitch P using the following formula (3) is shown.

[0111] [Formula (3)]

[0112] P = P0 + PDP · (r / 10) · (rnd1 + POFF / 100)

[0113] P0: Reference pitch

[0114] PDP: Depth of pitch change

[0115] POFF: Offset value

[0116] The reference pitch P0 is a pitch uniquely determined by the waveform data read from the ROM12 (in other words, it is the pitch without a natural change imparted thereto and is a pitch uniquely determined by the currently set timbre and key event information). The reference pitch P0 ranges from a minimum value of 0 to a maximum value of 100.

[0117] The depth PDP is the depth (degree) of the pitch change and ranges from a minimum value of 0 to a maximum value of 100.

[0118] The offset value POFF is a value that adjusts the increase / decrease balance of the pitch change by adding it to the random number rnd1, and takes a value from -100 to +100.

[0119] The depth PDP and the offset value POFF are, for example, appropriate values preset for each timbre (guitar, piano, etc.) and each key number of the musical tone. In addition, the values of the depth PDP or the offset value POFF can also be changed by a user operation on the switch panel 13.

[0120] In the present embodiment, the range of the pitch P is from a minimum value of 0 to a maximum value of 100. Therefore, according to Equation (3), when the pitch P is less than zero, the pitch P is limited to zero. According to Equation (3), when the pitch P exceeds 100, the pitch P is limited to 100.

[0121] The processor 10 sets the pitch P obtained in step S107 as the reference pitch of the second musical tone in the waveform generator 19a (step S108). Thus, when the second musical tone is the musical tone at the time of the combo operation, the musical tone is generated with a pitch given a natural change.

[0122] In order to make the reference pitch set in step S108 change with time, the processor 10 sets the levels L0, L1, and the speed R1 of the pitch envelope according to the currently set timbre and the information obtained from the key event information (step S109).

[0123] In order to give a natural change (for example, the change caused by the above-mentioned accidental factors) to the timbre of the second musical tone corresponding to the current key operation (second operation), the processor 10 generates a random number rnd2 through a random function (step S110). The random number rnd2 is a value from -1 to +1.

[0124] The processor 10 obtains the cut-off frequency f of the second musical tone given a natural change (step S111). Here, as a specific example of obtaining the cut-off frequency f, a method of calculating the cut-off frequency f using the following Equation (4) is shown.

[0125] [Equation (4)]

[0126] f = f0 + fDP·(r / 10)·(rnd2 + fOFF / 100)

[0127] f0: reference cut-off frequency

[0128] fDP: change depth of the cut-off frequency

[0129] fOFF: offset value

[0130] The reference cutoff frequency f0 is a cutoff frequency uniquely determined by the waveform data read from the ROM 12 (in other words, a cutoff frequency without natural variation and uniquely determined by the currently set timbre and key event information). The reference cutoff frequency f0 has a minimum value of 0 and a maximum value of 100.

[0131] The depth fDP is the depth (degree) of change in the cutoff frequency, and ranges from a minimum value of 0 to a maximum value of 100.

[0132] The offset value fOFF is a value that adjusts the increase and decrease balance of the change of the cutoff frequency by adding to the random number rnd2, and takes a value of -100 to +100. In addition, the volume and harmonic components of the musical sound during the combo operation tend to increase compared with the single-click sound (i.e., the static state musical sound). Therefore, by setting the offset value fOFF to a positive value, it is also possible to adjust the cutoff frequency f to a value that is easy to change to a value higher than the original reference cutoff frequency f0. Incidentally, by setting the offset value fOFF to +100, it is also possible to adjust the cutoff frequency f to a value that is definitely changed to a value above the original reference cutoff frequency f0.

[0133] The depth fDP or the offset value fOFF may be an appropriate value preset for each tone color and each key number, or may be changeable by a user operation.

[0134] In this embodiment, the range of the cutoff frequency f is a minimum value of 0 to a maximum value of 100. Therefore, according to formula (4), when the cutoff frequency f is less than zero, the cutoff frequency f is limited to 0. According to formula (4), when the cutoff frequency f exceeds 100, the cutoff frequency f is limited to 100.

[0135] The processor 10 sets the cutoff frequency f acquired in step S111 as the reference cutoff frequency for the second musical sound in the filter 19c (step S112). Thus, when the second musical sound is a musical sound during a double-touch operation, the musical sound is generated at a cutoff frequency with a natural change.

[0136] In order to change the reference cutoff frequency set in step S112 over time, the processor 10 sets the levels L0 and L1 and the speed R1 of the filter envelope according to the currently set timbre and the information obtained from the key event information (step S113).

[0137] In order to give a natural change (such as the change caused by the above-mentioned random factor) to the volume of the second musical sound corresponding to the current key operation (second operation), the processor 10 generates a random number rnd3 by a random function (step S114). The random number rnd3 is a value of -1 to +1.

[0138] Processor 10 acquires volume level A of the second musical sound to which natural variation is imparted (step S115). Here, as a specific example of acquiring volume level A, a method of calculating volume level A using the following equation (5) is described.

[0139] [Formula (5)]

[0140] A=A0·(ADP / 100)·2〔(r / 10)·{rnd3+(AOFF / 100)}〕

[0141] A0: Reference volume level

[0142] ADP: Depth of variation of volume level

[0143] AOFF: Offset value

[0144] The reference volume level A0 is a volume level uniquely determined by the waveform data read from the ROM 12 (in other words, a volume level without natural variation and uniquely determined by the currently set timbre and key event information). The reference volume level A0 ranges from a minimum value of 0 to a maximum value of 100.

[0145] The depth ADP is the depth (degree) of change in the volume level, and ranges from a minimum value of 0 to a maximum value of 100.

[0146] The offset value AOFF is a value that is added to the random number rnd3 to adjust the increase / decrease balance of the volume level change, and takes a value between -100 and +100. As described above, the volume and harmonic components of the musical sound during the combo operation tend to be increased compared to the single-click sound. Therefore, by setting the offset value AOFF to a positive value, it is possible to adjust so that the volume level A is easily changed to a value higher than the original reference volume level A0.

[0147] The depth ADP and the offset value AOFF may be appropriate values set in advance for each tone color and each key number, or may be changeable by a user operation.

[0148] In the present embodiment, the range of the volume level A is from a minimum value of 0 to a maximum value of 100. Therefore, according to the formula (5), when the volume level A exceeds 100, the volume level A is limited to 100.

[0149] The processor 10 sets the volume level A obtained in step S115 as the reference volume level of the second musical sound to the amplifier 19e (step S116). Thus, when the second musical sound is a musical sound during a combo operation, the musical sound is generated at a volume level (in other words, amplification factor) with natural changes.

[0150] In order to change the reference volume level set in step S116 over time, the processor 10 sets the levels L0 and L1 and the speed R1 of the amplification envelope according to the currently set timbre and the information obtained from the key event information (step S117).

[0151] The processor 10 sends a signal to the sound source LSI 19. Figure 8 The pronunciation instruction of the allocation generator unit set in the generator unit allocation process is used (step S118). That is, in step S118, the processor 10 acts as the musical sound instruction unit 101, and the musical sound instruction unit 101 indicates the pronunciation of the second musical sound corresponding to the parameter value r obtained in step S105. Incidentally, the processor 10 acting as the musical sound instruction unit 101 multiplies the random number generated based on the random function by the parameter value r (refer to steps S107, S111 and S115), and indicates the pronunciation of the second musical sound corresponding to the value obtained by the multiplication. According to the pronunciation instruction, the waveform data starts to be read out in the allocation generator unit, and the envelope starts to be output from each envelope generator, Figure 7 The key processing is completed.

[0152] By executing Figure 7 The second musical sound generated by the distribution generator unit according to the key processing is given unpredictable changes that occur when the vibrating vibrating body is impacted again during the combo operation. Therefore, in the present embodiment, the mechanical feel of the musical sound during the combo operation is avoided. In more detail, the parameter value r is calculated each time based on the ratio (a / b) of the current first amplitude value a of the vibrating body and the second amplitude value b of the second musical sound produced according to the current key operation, and the calculated parameter value r is used each time to give a natural change to the second musical sound. Therefore, the tendency of the change of the second musical sound can be reproduced more faithfully (that is, the greater the ratio (a / b), the greater the tendency of the change of the second musical sound), which can approach the characteristics of natural musical sound such as acoustic instruments.

[0153] use Figures 11 - 16 , indicating that Figure 7 The execution of the key processing gives the second musical sound an effect of a natural change.

[0154] Figure 11 and Figure 12 2 is a diagram for explaining case 1. Case 1 is a case where the key with the same key number as the first operation is lightly pressed when the first amplitude value a is large (in other words, the first amplitude value a is large and the second amplitude value b is small).

[0155] Figure 13 and Figure 14This is a diagram illustrating Case 2. Case 2 is a situation where, when the first amplitude value a is moderate, a key with the same key number as the first operation is pressed with a moderate intensity (in other words, the first amplitude value a is moderate and the second amplitude value b is also moderate).

[0156] Figure 15 and Figure 16 This is a diagram illustrating Case 3. Case 3 is a situation where, when the first amplitude value a is small, the key with the same key number as the first operation is pressed firmly (in other words, the first amplitude value a is small and the second amplitude value b is large).

[0157] In Figures 11 - 16 each diagram, the upper diagram represents the amplitude value of the first musical tone, and the lower diagram represents the amplitude value of the second musical tone. In Figures 11 - 16 any of the diagrams, the vertical axis represents the amplitude value and the horizontal axis represents time. The reference numeral T1 represents the time point at which the first operation was performed, and the reference numeral T2 represents the time point at which the second operation was performed. Figures 11 - 16 Any of the diagrams in

[0158] Figure 11 represents Comparative Example 1 (a comparative example of Case 1), Figure 12 represents Example 1 (an example of Case 1). Figure 13 represents Comparative Example 2 (a comparative example of Case 2), Figure 14 represents Example 2 (an example of Case 2). Figure 15 represents Comparative Example 3 (a comparative example of Case 3), Figure 16 represents Example 3 (an example of Case 3).

[0159] In each case, in order to compare the second musical tones of the comparative examples and the examples, the first musical tone is the same in the comparative examples and the examples. For the second musical tone, the conditions of the second operation (timbre, key number, and intensity value) are the same in the comparative examples and the examples. The second musical tone of the comparative example is the second musical tone without imparting natural variations and is uniquely determined according to the currently set timbre and key press event information. The second musical tone of the example is the second musical tone with natural variations imparted by performing the Figure 7 key press process.

[0160] In addition, Figure 12 、 Figure 14 and Figure 16The illustration of the lower part shows the following situation: As a result of being given natural variations, the amplitude value of the second musical tone pronounced in the embodiment varies within the range sandwiched by two dashed lines. The upper dashed line represents the situation where, as a result of being given natural variations, the amplitude value of the second musical tone changes to the maximum value, and the lower dashed line represents the situation where, as a result of being given natural variations, the amplitude value of the second musical tone changes to the minimum value.

[0161] For convenience, in Case 1, the amplitude value of the second musical tone at the T2 time point in the case of the maximum change is appended with the reference numeral MAX1, and the amplitude value of the second musical tone at the T2 time point in the case of the minimum change is appended with the reference numeral MIN1. In addition, in Case 2, the amplitude value of the second musical tone at the T2 time point in the case of the maximum change is appended with the reference numeral MAX2, and the amplitude value of the second musical tone at the T2 time point in the case of the minimum change is appended with the reference numeral MIN2. In addition, in Case 3, the amplitude value of the second musical tone at the T2 time point in the case of the maximum change is appended with the reference numeral MAX3, and the amplitude value of the second musical tone at the T2 time point in the case of the minimum change is appended with the reference numeral MIN3.

[0162] In the comparative example, as Figure 11 , Figure 13 and Figure 15 the lower figures show, regardless of the magnitude of the first amplitude value a, the second musical tone always becomes a fixed amplitude value corresponding to the force at the second operation. Therefore, in any of the comparative examples of Cases 1 to 3, the mechanical feeling of the musical tone during the double hit operation cannot be avoided.

[0163] In contrast, in the embodiment, as Figure 12 , Figure 14 and Figure 16 the lower figures show, the amplitude value of the second musical tone variably changes within the range between the two dashed lines. Therefore, in any of Embodiments 1 to 3, the mechanical feeling of the musical tone during the double hit operation can be avoided.

[0164] Case 1 has the largest ratio (a / b) among Cases 1 to 3. Case 3 has the smallest ratio (a / b) among Cases 1 to 3. The ratio (a / b) of Case 2 is an intermediate value between the ratio (a / b) of Case 1 and the ratio (a / b) of Case 3. If comparing Figure 12 , Figure 14 and Figure 16In the diagram of the lower part, the difference between MAX1 and MIN1 is the largest, followed by the difference between MAX2 and MIN2 being the largest, and the difference between MAX3 and MIN3 being the smallest. That is, the magnitude of the variation of the second musical tone is the largest in Case 1 and the smallest in Case 3. Thus, in the embodiment, it can be judged that the tendency that the larger the ratio (a / b), the greater the change in the second musical tone is faithfully reproduced. Therefore, it can be judged that in the electronic musical instrument 1, improvements have been made to make the musical tones during the double-strike operation closer to natural musical tones.

[0165] Furthermore, the present invention is not limited to the above-described embodiments, and various modifications can be made within the scope of not departing from the gist thereof at the implementation stage. In addition, the functions executed in the above-described embodiments can also be implemented by appropriately combining them as much as possible. The above-described embodiments include various stages, and various inventions can be extracted by appropriately combining the disclosed multiple constituent elements. For example, even if several constituent elements are deleted from all the constituent elements shown in the embodiment, as long as the effects can be obtained, the structure with the deleted constituent elements can also be extracted as an invention.

[0166] In the above-described embodiment, changes based on the parameter value r are given to all of the pitch, timbre, and volume of the second musical tone, but the structure of the present invention is not limited thereto. Even when changes based on the parameter value are given to one or two of the pitch, timbre, and volume of the second musical tone, the effect of avoiding the mechanical feeling of the musical tone during the double-strike operation and approaching the characteristics of a natural musical tone can also be obtained.

Claims

1. An electronic musical instrument, wherein, Comprising: A performance operation member; And At least one processor, The at least one processor, According to a first operation on the performance operation member, indicates the pronunciation of a first musical tone, According to a second operation on the performance operation member during the pronunciation of the first musical tone, obtains a first amplitude value of the first musical tone at a timing corresponding to the second operation, and obtains a second amplitude value of a second musical tone for pronunciation according to the second operation, Obtains a parameter value for determining at least one of pitch, timbre, and volume of the second musical tone based on a ratio of the first amplitude value to the second amplitude value, Indicates the pronunciation of the second musical tone corresponding to the obtained parameter value, The parameter value is obtained by the following formula: Parameter value = log2(a / b) + N Where a is the first amplitude value, b is the second amplitude value, and N is an adjustment value for setting the parameter value to a value of zero or more.

2. The electronic musical instrument according to claim 1, wherein The larger the ratio of the first amplitude value to the second amplitude value, the larger the parameter value.

3. The electronic musical instrument according to claim 1 or 2, wherein The at least one processor multiplies a random number generated based on a random function by the parameter value, and indicates the pronunciation of the second musical tone corresponding to the multiplied value.

4. The electronic musical instrument according to claim 1 or 2, wherein A keyboard including the performance operation member is provided, The first operation and the second operation are key operations on the keyboard.

5. A method for an electronic musical instrument, wherein Causes a computer to perform: According to a first operation on a performance operation member, indicates the pronunciation of a first musical tone, According to a second operation on the performance operation member during the pronunciation of the first musical tone, obtains a first amplitude value of the first musical tone at a timing corresponding to the second operation, and obtains a second amplitude value of a second musical tone for pronunciation according to the second operation, Obtains a parameter value for determining at least one of pitch, timbre, and volume of the second musical tone based on a ratio of the first amplitude value to the second amplitude value, Indicates the pronunciation of the second musical tone corresponding to the obtained parameter value, The parameter value is obtained by the following formula: Parameter value = log2(a / b) + N Where a is the first amplitude value, b is the second amplitude value, and N is an adjustment value for setting the parameter value to a value of zero or more.

6. The method according to claim 5, wherein The larger the ratio of the first amplitude value to the second amplitude value, the larger the parameter value.

7. The method according to claim 5 or 6, wherein The computer multiplies a random number generated based on a random function by the parameter value, and indicates the pronunciation of the second musical tone corresponding to the multiplied value.

8. The method according to claim 5 or 6, wherein The first operation and the second operation are key operations on a keyboard including the performance operation member.

9. A storage medium storing a program, wherein, The program causes the computer to perform: According to a first operation on a performance operation member, indicates the pronunciation of a first musical tone, Based on a second operation on the performance operation member during the pronunciation of the first musical tone, obtain a first amplitude value of the first musical tone at a timing corresponding to the second operation, and obtain a second amplitude value of a second musical tone that is pronounced based on the second operation. Based on a ratio of the first amplitude value to the second amplitude value, obtain a parameter value for determining at least one of pitch, timbre, and volume of the second musical tone. Indicate the pronunciation of the second musical tone corresponding to the obtained parameter value. The parameter value is obtained by the following formula: Parameter value = log2(a / b) + N where a is the first amplitude value, b is the second amplitude value, and N is an adjustment value for setting the parameter value to a value of zero or more.

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