Electronic devices, methods for changing sound, and sound changing programs

Abstract

To provide an electronic device, a method for changing the timbre applied to a musical sound while the sound is being output, and a program for changing the timbre. [Solution] The shape of the timbre waveform Tw of the timbre applied to the musical tone being played is set (changed) according to the pressing position of the control keys 2a1 to 2a10. This allows user H to change the characteristics of the timbre, such as the texture and brightness of the timbre applied to the musical tone while it is being played by pressing or releasing the control keys 2a1 to 2a10.

Description

Technical Field

[0001] It relates to electronic devices, a tone color change method, and a tone color change program.

Background Art

[0002] Patent Document 1 discloses an electronic musical instrument that can switch the tone color of the music being output in real time according to an instruction from user H. Specifically, by operating the setting key 4 during the performance of user H, the tone color desired by user H is selected from a plurality of tone colors, and the selected tone color is applied to the music being output.

Prior Art Documents

Patent Documents

[0003]

Patent Document 1

Summary of the Invention

Problems to be Solved by the Invention

[0004] However, in Patent Document 1, although the type of tone color applied during the output of music can be switched, aspects of the tone color such as the texture and brightness of the tone color are fixed to those preset for each tone color. As a result, there is a problem that user H cannot freely change the aspect of the tone color applied to the music during the output of the music.

[0005] The present invention has been made to solve the above-described problems, and an object thereof is to provide an electronic device, a tone color change method, and a tone color change program that can change the aspect of the tone color applied to music during the output of the music.

Means for Solving the Problems

[0006] To achieve this objective, the electronic device of the present invention comprises a plurality of controls and outputs musical tones, and includes a waveform deformation means that deforms a timbre waveform, which is a basic waveform representing the timbre of the musical tone being output, based on a setting value corresponding to the operation of each of the controls; a musical tone generation means that generates the musical tone based on the timbre waveform deformed by the waveform deformation means and input pitch information; and an output means that outputs the musical tone generated by the musical tone generation means.

[0007] The timbre modification method of the present invention is a method performed by an electronic device equipped with a plurality of controls, and comprises: a waveform modification step that modifies a timbre waveform, which is a basic waveform representing the timbre of the musical sound being output, based on a setting value corresponding to the operation of each of the controls; a musical sound generation step that generates the musical sound based on the timbre waveform modified in the waveform modification step and input pitch information; and an output step that outputs the musical sound generated in the musical sound generation step.

[0008] Furthermore, the timbre changing program of the present invention is a program that causes a computer equipped with multiple controls to perform a process to change the timbre of a musical sound being output, and causes the computer to perform the following steps based on setting values ​​corresponding to operations on each of the controls: a waveform transformation step that transforms a timbre waveform, which is a basic waveform representing the timbre of the musical sound being output; a musical sound generation step that generates the musical sound based on the timbre waveform transformed in the waveform transformation step and input pitch information; and an output step that outputs the musical sound generated in the musical sound generation step. [Brief explanation of the drawing]

[0009] [Figure 1] This is a diagram showing the appearance of a synthesizer. [Figure 2] (a) is a diagram illustrating the control keys used to create the timbre waveform, and (b) is a diagram showing the timbre waveform based on the position where the control keys are pressed. [Figure 3] This is a block diagram showing the electrical configuration of a synthesizer. [Figure 4]This is a functional block diagram of a synthesizer. [Figure 5] (a) is a flowchart of the main process, (b) is a flowchart of the smoothing process, and (c) is a flowchart of the DC removal process. [Figure 6] (a) is a flowchart of the sound generation process, (b) is a flowchart of the pitch control process, and (c) is a diagram illustrating the musical tone generation process. [Figure 7] (a) is a diagram illustrating the key used to create the timbre waveform in the second embodiment; (b) is a diagram showing the fundamental frequency element waveform based on the pressing position of the control key in the second embodiment; (c) is a diagram showing the third harmonic element waveform based on the pressing position of the control key in the second embodiment; (d) is a diagram showing the fifth harmonic element waveform based on the pressing position of the control key in the second embodiment; (e) is a diagram showing the sixth harmonic element waveform based on the pressing position of the control key in the second embodiment; and (f) is a diagram showing the seventh harmonic element waveform based on the pressing position of the control key in the second embodiment. [Figure 8] (a) is a diagram illustrating the timbre waveform in the second embodiment, and (b) is a diagram illustrating the musical tone generation process in the second embodiment. [Figure 9] (a) is a flowchart of the main process in the third embodiment, (b) is a diagram showing the interpolated pressing position of each control key when all control keys are released, and (c) is a diagram showing the interpolated pressing position of each control key when one of the control keys in the third embodiment is pressed. [Figure 10] (a) is a diagram showing the interpolated pressing positions of each control key when another of the control keys in the third embodiment is pressed, and (b) is a diagram showing the interpolated pressing positions of each control key when two of the control keys in the third embodiment are pressed. [Modes for carrying out the invention]

[0010] A preferred embodiment will be described below with reference to the attached drawings. The outline of the synthesizer 1 of this embodiment will be described with reference to Figure 1. Figure 1 is a diagram showing the external appearance of the synthesizer 1.

[0011] Synthesizer 1 is an electronic musical instrument (electronic device) that mixes and outputs (emits sound) musical tones based on the user H's performance operations and predetermined accompaniment tones. Synthesizer 1 mainly consists of a keyboard 2, setting keys 3 into which various settings from user H are input, and a pedal 4.

[0012] Keyboard 2 is an input device for acquiring performance information from user H's performance. Keyboard 2 is equipped with multiple keys 2a, and performance information corresponding to user H's pressing / releasing operations (i.e., performance operations) of keys 2a is output to CPU 100 (see Figure 3). The vertical position of keys 2a due to user H's pressing / releasing operations (i.e., pressing depth, hereinafter referred to as "key 2a pressing position") may be detected in stages using multiple contact switches, etc., or continuously using a continuous detection sensor, etc. Pedal 4 is a foot-operated control (second control), and when user H presses pedal 4, an ON signal is input from pedal 4 to CPU 100, and when user H releases pedal 4, an OFF signal is input from pedal 4 to CPU 100.

[0013] In this embodiment, the characteristics of the timbre are changed by altering the timbre waveform Tw, which is a waveform representing the timbre applied to the musical tone being played, according to the pressing position of the control keys 2a1 to 2a10 among the keys 2a. Referring to Figure 2, the control keys 2a1 to 2a10 used to create the timbre waveform Tw among the keys 2a, and the creation of the timbre waveform Tw based on the pressing positions of these control keys 2a1 to 2a10 will be explained.

[0014] Figure 2(a) illustrates the control keys 2a1 to 2a10 used to create the timbre waveform Tw. Ten consecutive white keys from the keyboard 2 are set as control keys 2a1 to 2a10, which are used as keys 2a to create the timbre waveform Tw.

[0015] Among the ten consecutive white keys, the leftmost key 2a is set as the control key 2a1, the key 2a located immediately to the right of the control key 2a1 is set as the control key 2a2, and the control keys 2a3 to 2a10 are set in order from the key immediately to the right of the control key 2a2 in the right direction. The depression positions of the control keys 2a1 to 2a10 are respectively obtained, and a tone color waveform Tw is created based on the obtained depression positions. Hereinafter, when the control keys 2a1 to 2a10 are not particularly distinguished, they are referred to as "control key 2aX".

[0016] Next, referring to FIG. 2(b), the creation of the tone color waveform Tw based on the depression position of the control key 2aX will be described. FIG. 2(b) is a diagram showing the tone color waveform Tw based on the depression position of the control key 2aX. As described above, the tone color waveform Tw is a waveform representing the tone color applied to the musical tone being sounded by the synthesizer 1. A musical tone is generated and sounded based on the tone color waveform Tw and the pitch determined by an arpeggiator or a sequencer described later.

[0017] In the present embodiment, it is assumed that the tone color waveform Tw itself is the original waveform and there is no precondition waveform. However, this is not limited thereto, and a precondition original waveform (for example, a sine wave) may be provided, and the tone color waveform Tw may be created by superimposing or multiplying a waveform set (transformed) by the key depression position of the control key 2aX such as the above-described tone color waveform Tw on the original waveform.

[0018] In the present embodiment, the shape of one cycle of the waveform in the tone color waveform Tw is set based on the depression position of the control key 2aX, and is configured by repeating the set waveform. First, one cycle in the tone color waveform Tw is equally divided into divided periods ΔT1 to ΔT10. That is, the lengths of the divided periods ΔT1 to ΔT10 are set to the same length. These divided periods ΔT1 to ΔT10 are respectively assigned to the control keys 2a1 to 2a10, and the magnitude of the amplitude of the divided periods ΔT1 to ΔT10 is set based on the depression positions of the corresponding control keys 2a1 to 2a10.

[0019] Specifically, the amplitude of the division period ΔT1 is set based on the depression position of the control key 2a1, and the amplitude of the division period ΔT2 is set based on the depression position of the control key 2a2. Similarly, the amplitudes of the division periods ΔT3 to ΔT10 are set based on the depression positions of the control keys 2a3 to 2a10, respectively.

[0020] In the tone color waveform Tw in this embodiment, the minimum value of the amplitude is set to "-1.0" and the maximum value is set to "1.0". The higher the depression positions of the control keys 2a1 to 2a10, the larger the amplitude value is set for the corresponding division periods ΔT1 to ΔT10, and the lower the depression positions of the control keys 2a1 to 2a10, the smaller the amplitude value is set for the corresponding division periods ΔT1 to ΔT10.

[0021] Also, the amplitudes of the division periods ΔT1 to ΔT10 set based on the depression positions of the control keys 2a1 to 2a10 are continued between each of those division periods ΔT1 to ΔT10. For example, in the division period ΔT1, the amplitude of -1.0 set according to the depression position of the control key 2a1 is continued from the start to the end of the division period ΔT1.

[0022] Then, by connecting the set amplitudes of the division periods ΔT1 to ΔT10 in order, the shape of the waveform for one cycle is set, and by repeating the set waveform, the tone color waveform Tw is created. When the depression positions of the control keys 2a1 to 2a10 change after the tone color waveform Tw is created, the amplitudes of the division periods ΔT1 to ΔT10 are reset accordingly and the tone color waveform Tw is updated. Based on the created or updated tone color waveform Tw and the pronunciation pitch, which is the pitch determined by the arpeggiator or sequencer, a musical tone is generated and pronounced.

[0023] In this way, the shape of the tone color waveform Tw of the tone color applied to the musical tone during pronunciation is set (transformed) according to the depression positions on the control keys 2a1 to 2a10. Thereby, the user H can change aspects of the tone color such as the texture and brightness of the tone color applied to the musical tone during pronunciation by depressing or releasing the control keys 2a1 to 2a10 during the pronunciation of the musical tone.

[0024] Furthermore, the control keys 2a1 to 2a10, used to deform the timbre waveform Tw, consist of 10 consecutive white keys from key 2a. User H can easily and intuitively deform the timbre waveform Tw by simply moving the control keys 2a1 to 2a10 up and down. Moreover, since the 10 white keys each have the same shape and structure, user H can easily grasp the differences in the pressing positions between control keys 2a1 to 2a10. This makes it easy to adjust the pressing positions of control keys 2a1 to 2a10. In addition, with the 10 control keys 2a1 to 2a10, user H can use all of their fingers to deform the timbre waveform Tw in detail.

[0025] Next, the electrical configuration of synthesizer 1 will be explained with reference to Figure 3. Figure 3 is a block diagram showing the electrical configuration of synthesizer 1. Synthesizer 1 includes a CPU 100, a flash ROM 101, a RAM 102, the aforementioned keyboard 2, setting keys 3 and pedal 4, a sound source 103, and a DSP (Digital Signal Processor) 104, all of which are connected via a bus line 105. A DAC (Digital Analog Converter) 106 is connected to the DSP 104, an amplifier 107 is connected to the DAC 106, and a speaker 108 is connected to the amplifier 107.

[0026] The CPU 100 is an arithmetic unit that controls each part connected by the bus line 105. The flash ROM 101 is a rewritable, non-volatile memory that contains the control program 101a. When the control program 101a is executed by the CPU 100, the main process shown in Figure 5(a) is executed. The RAM 102 is a memory that stores various work data, flags, etc., in a rewritable manner when the CPU 100 executes programs such as the control program 101a.

[0027] The sound source 103 is a device that outputs waveform data corresponding to the performance information input from the CPU 100. The DSP 104 is a processing unit for performing calculations on the waveform data input from the sound source 103. The DAC 106 is a conversion device that converts the waveform data input from the DSP 104 into analog waveform data. The amplifier 107 is an amplification device that amplifies the analog waveform data output from the DAC 106 with a predetermined gain. The speaker 108 is an output device that emits (outputs) the analog waveform data amplified by the amplifier 107 as musical sound.

[0028] Next, the functions of synthesizer 1 will be explained with reference to Figure 4. Figure 4 is a functional block diagram of synthesizer 1. As shown in Figure 4, synthesizer 1 has a waveform deformation means 500, a musical tone generation means 501, and an output means 502. The waveform deformation means 500 is a means for deforming the timbre waveform Tw of the musical tone being output based on the pressing position corresponding to the operation of control keys 2a1 to 2a10, and is realized by the CPU 100 described above in Figure 3.

[0029] The musical tone generation means 501 is a means for generating musical tones based on the timbre waveform Tw transformed by the waveform deformation means 500 and the input pitch information, and is implemented by the CPU 100 and the DSP 104 described above. The output means 502 is a means for outputting the musical tones generated by the musical tone generation means 501, and is implemented by the CPU 100 and DSP 104, and the DAC 106, amplifier 107 and speaker 108 described above.

[0030] In other words, based on the pressing position corresponding to the operation of control keys 2a1 to 2a10, the timbre waveform Tw of the output musical tone is deformed, and a musical tone is generated and output based on that timbre waveform Tw. This makes it possible to change the timbre waveform Tw, i.e., the timbre, applied to the output musical tone in response to the operation of control keys 2a1 to 2a10 by user H.

[0031] Next, we will explain the processes executed by the CPU 100, referring to Figures 5 and 6. Figure 5(a) is a flowchart of the main process. The main process is executed when the synthesizer 1 is powered on. The main process first obtains the pressed position of each key 2a on the keyboard 2 (S1).

[0032] After the processing in S1, a smoothing process (S2) is performed, followed by a DC rejection process (S3). The smoothing process in S2 is performed for each control key 2a1 to 2a10. After the DC rejection process in S3, other processing of synthesizer 1 (S4) is performed, and the processes from S1 onward are repeated. The smoothing process, the DC rejection process, and related processes will now be explained with reference to Figures 5(b) and 6.

[0033] Figure 5(b) is a flowchart of the smoothing process. The smoothing process calculates the control key press position of the control key 2aX based on the press position of the control key 2aX being processed. Hereafter, the control key 2aX being processed in the smoothing process will be abbreviated as "target control key 2aX," and the same will apply to Figure 6(a) below.

[0034] Furthermore, the control press position is the control press position of the control key 2aX used to set the amplitude of the corresponding division period ΔT1 to ΔT10 in the timbre waveform Tw. A control press position is provided for each control key 2aX.

[0035] The smoothing process first checks if an "off" input is received from pedal 4 (S10). If it is confirmed in the S10 process that an "off" input is received from pedal 4 (S10: Yes), the pressed position of the target control key 2aX is obtained from the pressed position obtained in the S1 process described above (S11).

[0036] After the process in S11, it is confirmed that the control target position of the target control key 2aX is the pressed position of the control key 2aX obtained in the process in S11 (S12). Here, the control target position is set for each target control key 2aX and is the target position to which the control pressed position of the target control key 2aX should reach. At the time the process in S12 is executed, the control target position is set to the pressed position of the target control key 2aX in the smoothing process up to the previous step.

[0037] In S12, if it is confirmed that the target control position of the control key 2aX is not the pressed position of the control key 2aX obtained in the process of S11 (S12: No), it means that the pressed position has changed since the previous smoothing process, such as when the control key 2aX was pressed, so the pressed position of the control key 2aX obtained in the process of S11 is set as the target control position of the control key 2aX (S13).

[0038] After processing in S13, a value is calculated by subtracting the control press position of the target control key 2aX from the control target position of the target control key 2aX, and this value is divided by the number of steps to be set as the change amount of the target control key 2aX (S14). Here, the number of steps is set to the number of times the smoothing process is executed in 10 milliseconds. In other words, the change amount is the value of one step (i.e., one smoothing process) required to bring the control press position of the target control key 2aX to the control target position in 10 milliseconds, and is set for each target control key 2aX.

[0039] Furthermore, the time required to move the control key to the target control position is not limited to 10 milliseconds; it may be more than 10 milliseconds, less than 10 milliseconds, or even a random time. Additionally, the time required to move the control key to the target control position may vary depending on the control key 2aX.

[0040] In S12, if it is confirmed that the target control position of the control key 2aX is the pressed position of the control key 2aX obtained in the process of S11 (S12: Yes), then the processes of S13 and S14 are skipped. After the processes of S12 and S14, it is confirmed whether the pressed position of the target control key 2aX has reached the target control position of the target control key 2aX (S15).

[0041] In the process of S15, if it is confirmed that the control key 2aX's pressed position has not reached the control target position of the target control key 2aX (S15: No), the change amount of the target control key 2aX is added to the control key 2aX's pressed position (S16). The change amount added in this S16 process is either the same as the change amount in the previous smoothing process, or the change amount set in the S14 process of the current smoothing process.

[0042] On the other hand, in the process of S15, if it is confirmed that the control key 2aX has reached the control target position (S15:Yes), the process of S16 is skipped. In the process of S10, if it is confirmed that pedal 4 is input to ON (S10:No), the processes of S11 to S16 are skipped. After the processes of S10, S15, and S16, the smoothing process is terminated.

[0043] Due to the smoothing process described above, when the target control key 2aX is pressed or otherwise changed, the pressed position, i.e., the control target position, is gradually changed to that control target position over 10 milliseconds. In other words, the pressed position of the target control key 2aX is the control pressed position during the transitional phase from the pressed position of the control key 2aX before the change to the pressed position of the control key 2aX after the change.

[0044] Furthermore, if user H presses pedal 4 and an ON input is received from pedal 4, processing S11 to S16 is skipped. As a result, even if the pressed position of the target control key 2aX changes, for example when it is pressed, if pedal 4 is pressed during that time, the control key pressed position immediately before pedal 4 was pressed is maintained.

[0045] Next, the DC removal process will be explained with reference to Figure 5(c). Figure 5(c) is a flowchart of the DC removal process. The DC removal process is the process of creating an amplitude value from which the DC component has been removed from the control press position set in the smoothing process.

[0046] The DC removal process first acquires all the control key press positions for control keys 2a1 to 2a10 (S20), and calculates the average value of all acquired control key press positions (S21). After the process in S21, the value obtained by subtracting the average value calculated in the process in S21 from each control key press position for control keys 2a1 to 2a10 is set as the amplitude value for each control key 2a1 to 2a10 (S22). The calculated amplitude values ​​for control keys 2a1 to 2a10 are used to calculate the amplitudes of the corresponding division periods ΔT1 to ΔT10 in the sound generation process described later (see Figure 6(a)).

[0047] The amplitude value is calculated by subtracting the average value of the control key press positions from the control key press positions. In other words, the amplitude value is the value obtained by removing the "DC component" from the control key press positions. This prevents situations where, for example, when all control keys 2a1 to 2a10 are released, the amplitude values ​​of all control keys 2a1 to 2a10 are set to "0," thus preventing situations where an amplitude other than 0 is set in the timbre waveform Tw, resulting in the production of inappropriate musical tones, even though the control keys 2a1 to 2a10 are released. Furthermore, by removing the DC component at the control key press positions from the amplitude value, it is possible to prevent the DC component from being input to the speaker 108, causing the voice coil (not shown) inside the speaker 108 to overheat and potentially leading to damage or deterioration of the voice coil.

[0048] Next, the sound generation process will be explained with reference to Figure 6(a). Figure 6(a) is a flowchart of the sound generation process. The sound generation process creates a timbre waveform Tw based on the amplitude value set in the DC rejection process, and then generates a musical tone to which the created timbre waveform Tw is applied. The sound generation process is executed repeatedly at regular intervals (for example, every 1 millisecond).

[0049] The sound generation process first acquires the amplitude values ​​of the control keys 2a1 to 2a10 set in the DC rejection process of S3 (S30). After the process in S30, the sound generation pitch is acquired (S31). The sound generation pitch is the pitch applied to the musical sound generated by the synthesizer 1, and in this embodiment, it is acquired from the arpeggiator or sequencer built into the synthesizer 1. Now, referring to Figure 6(b), the process for determining the sound generation pitch acquired in the process of S31 will be explained.

[0050] Figure 6(b) is a flowchart of the pitch control process. The pitch control process is the process of determining the pitch of sound as described above. The pitch control process is executed repeatedly at regular intervals (for example, every 10 milliseconds). The pitch control process first checks whether the operating mode of synthesizer 1 is "arpeggiator mode," which determines the pitch of sound from the arpeggiator (S40).

[0051] In the processing of S40, if it is confirmed that the operating mode is arpeggiator mode (S40: Yes), the pitch output from the arpeggiator built into synthesizer 1 is determined as the sound-producing pitch (S41). The arpeggiator repeatedly outputs an arpeggio based on a pitch set in advance by user H. In the processing of S41, the pitch of the arpeggio output from the arpeggiator at that time is set as the sound-producing pitch.

[0052] On the other hand, if it is not confirmed that the system is in arpeggiator mode during the S40 process (S40: No), the pitch output from the sequencer built into synthesizer 1 is determined as the sound-producing pitch (S42). The sequencer repeatedly outputs a series of pitches set in advance by user H in the set order. In the S42 process, the pitch output from the sequencer at that time is set as the sound-producing pitch. After the S41 and S42 processes, the pitch control process ends.

[0053] Return to Figure 6(a). After the processing in S31, a musical tone is generated and played (S32) from the amplitude value set in the processing in S30 and the sound pitch obtained in the processing in S31, and the sound production process ends. Now, with reference to Figure 6(c), the musical tone generation process in S32 will be explained.

[0054] Figure 6(c) is a diagram illustrating the musical tone generation process. In Figure 6(c), D is the amplitude value of the control keys 2a1 to 2a10 set in the process of S30 in Figure 6(a), and Pt is the sound production pitch obtained in the process of S31 in Figure 6(a).

[0055] In this embodiment, the DSP 104 comprises an oscillator 600, a filter 601, an amplifier 602, and envelope generators 603 and 604. The oscillator 600 generates musical tones based on the input amplitude value D and the sound generation pitch Pt.

[0056] In oscillator 600, the timbre waveform Tw described above in Figure 2(b) is first created by the amplitude value D. Specifically, the amplitude of the division period ΔT1 of the timbre waveform Tw is set by the amplitude value D of control key 2a1, the amplitude of the division period ΔT2 of the timbre waveform Tw is set by the amplitude value D of control key 2a2, and similarly thereafter, the amplitudes of the division periods ΔT3 to ΔT10 of the timbre waveform Tw are set by the amplitude values ​​D of control keys 2a3 to 2a10.

[0057] To ensure that the amplitude of the division period ΔT1 to ΔT10, set by the amplitude value D, falls within the range of a minimum value (-1.0) to a maximum value (1.0), one could, for example, calculate the absolute value of the amplitude value D for each of the control keys 2a1 to 2a10, obtain the maximum value among the calculated absolute values, and use the value obtained by dividing the amplitude value D of the control keys 2a1 to 2a10 by the obtained maximum value to set the amplitude of the division period ΔT1 to ΔT10 of the timbre waveform Tw.

[0058] After the timbre waveform Tw is created in this way, the oscillator 600 generates the waveform data of a musical tone by changing the frequency of the created timbre waveform Tw according to the sound generation pitch Pt.

[0059] Filter 601 limits a portion of the frequency band in the waveform data created by oscillator 600. The frequency band limited by filter 601 is set by envelope generator 603. Amplifier 602 amplifies a portion of the frequency band in the waveform data output from filter 601. The frequency band amplified by amplifier 602 is set by envelope generator 604.

[0060] The waveform data output from amplifier 602 is output to DAC 106, where it is converted into analog waveform data, and this analog waveform data is then emitted as musical sound via amplifier 107 and speaker 108.

[0061] In this way, the control key 2aX is pressed to set a control press position, and an amplitude value is calculated based on the control press position. A timbre waveform Tw is then created based on the calculated amplitude value and applied to the musical tone. As a result, the timbre, whose characteristics are set according to the control key 2aX press position, is applied to the musical tone and produced.

[0062] Here, if the target control key 2aX is pressed or otherwise changes its pressed position, i.e., the control target position, the control pressed position of the target control key 2aX is gradually changed to that control target position over 10 milliseconds (Figure 5(b): Processing S11~S16). This allows the amplitude of the division period ΔT1~ΔT10 corresponding to the target control key 2aX in the timbre waveform Tw to be gradually changed from a value corresponding to before the press position change to a value corresponding to after the press position change. This suppresses situations where the timbre waveform Tw changes abruptly, making musical tones whose timbre changes due to changes in the pressed position of the target control key 2aX less jarring to the listener.

[0063] Furthermore, since the actual pressing position of the target control key 2aX includes all the subtle movements of user H's finger, if all finger movements are reflected in the tone waveform Tw in real time, the shape of the tone waveform Tw will also change subtly, making it unstable. Therefore, a control-based (virtual) pressing position called the control pressing position is established, and by gradually bringing this control pressing position closer to the actual pressing position, the change in the shape of the tone waveform Tw becomes more gradual, thus stabilizing the tone waveform Tw.

[0064] Furthermore, when user H presses pedal 4, the control press position immediately before pedal 4 is pressed is maintained (Figure 5(b): processing in S10), so the control press position and control target value are not changed, and the timbre waveform Tw is maintained as it was immediately before pedal 4 was pressed. As a result, when user H has created the timbre desired by operating control key 2aX, pressing pedal 4 by user H will continue to apply that timbre to the musical tone, thereby improving the usability of synthesizer 1 for user H.

[0065] Next, the synthesizer 20 of the second embodiment will be described with reference to Figures 7 and 8. In the synthesizer 1 of the first embodiment described above, as shown in Figure 2(b), one period of the timbre waveform Tw is divided into division periods ΔT1 to ΔT10, and the amplitude of the corresponding division periods ΔT1 to ΔT10 is set according to the pressing positions of the control keys 2a1 to 2a10, thereby deforming the timbre waveform Tw.

[0066] In contrast, the synthesizer 20 of the second embodiment sets the amplitude of the corresponding fundamental tone and each harmonic according to the pressing position of the control keys 2a1 to 2a10, and modifies the timbre waveform Tw by synthesizing the waveforms of the fundamental tone and harmonics with the set amplitudes. The same reference numerals are used for components identical to those in the first embodiment described above, and their detailed descriptions are omitted.

[0067] Figure 7(a) is a diagram illustrating the key 2a used to create the timbre waveform Tw in the second embodiment. In the second embodiment, control keys 2a1 to 2a10 are set up in the same way as in the first embodiment, and element waveforms Ew1 to Ew10, which are waveforms representing the fundamental tone or each harmonic, are assigned to each of the control keys 2a1 to 2a10.

[0068] The amplitudes of these elemental waveforms Ew1 to Ew10 are set according to the pressing positions of the corresponding control keys 2a1 to 2a10. The timbre waveform Tw is created (modified) by adding (combining) the elemental waveforms Ew1 to Ew10 with their set amplitudes. The elemental waveforms Ew1 to Ew10 are explained with reference to Figures 7(b) to (f).

[0069] Figure 7(b) shows the fundamental frequency element waveform Ew1 based on the pressing position of control key 2a1 in the second embodiment; Figure 7(c) shows the third harmonic element waveform Ew3 based on the pressing position of control key 2a3 in the second embodiment; Figure 7(d) shows the fifth harmonic element waveform Ew5 based on the pressing position of control key 2a5 in the second embodiment; Figure 7(e) shows the sixth harmonic element waveform Ew6 based on the pressing position of control key 2a6 in the second embodiment; and Figure 7(f) shows the seventh harmonic element waveform Ew7 based on the pressing position of control key 2a7 in the second embodiment.

[0070] The control key 2a1 is assigned an element waveform Ew1 (Figure 7(b)) of the fundamental frequency (e.g., 440Hz). In this embodiment, the sound generation pitch Pt is set as the frequency of the fundamental frequency. The amplitude of the element waveform Ew1 is set according to the pressing position of the control key 2a1. In the second embodiment, the waveform of the element waveform Ew1 is composed of a sine wave, but other waveforms such as a square wave or sawtooth wave may also be used. The amplitude of the element waveform Ew1 is set by default to a minimum value of "-1.0" and a maximum value of "1.0". The lower the pressing position of the control key 2a1, the larger the amplitude of the element waveform Ew1 is set, and the higher the pressing position of the control key 2a1, the smaller the amplitude of the element waveform Ew1 is set. The waveform and amplitude settings of the element waveform Ew1 described above are the same for element waveforms Ew2 to Ew10 described later.

[0071] The control key 2a2 is assigned the element waveform Ew2 (not shown), which is the second harmonic of the fundamental tone, and the amplitude of element waveform Ew2 is set according to the position where the control key 2a2 is pressed. The frequency of element waveform Ew2 is set to twice the frequency of element waveform Ew1 (fundamental tone, sound pitch Pt) described above. Similarly, the frequency of element waveform Ew3 (Figure 7(c)) is set to three times the frequency of element waveform Ew1, and the frequencies of element waveforms Ew4 to Ew10 are set to four to ten times the frequency of element waveform Ew1, respectively.

[0072] Furthermore, control keys 2a4 to 2a10 are each assigned element waveforms Ew4 to Ew10, which are the 4th to 10th harmonics of the fundamental tone, and the amplitude of the corresponding element waveforms Ew4 to Ew10 is set according to the pressing position of control keys 2a4 to 2a10 (element waveforms Ew4, Ew8 to Ew10 are not shown; see Figures 7(d) to (f) for element waveforms Ew5 to Ew7).

[0073] For example, in Figure 7(a), the element waveforms Ew1, Ew3, Ew5-Ew7 corresponding to the control keys 2a1, 2a3, 2a5-2a7 pressed by user H are set to amplitudes greater than 0, depending on the depth of the press, as shown in Figures 7(b)-(f). On the other hand, in Figure 7(a), the element waveforms Ew2, Ew4, Ew8-Ew10 corresponding to the control keys 2a2, 2a4, 2a8-2a10 released by user H are set to amplitudes of 0, although these are not shown.

[0074] Next, referring to Figure 8, the creation of the timbre waveform Tw using element waveforms Ew1 to Ew10, whose amplitudes are set according to the pressing positions of the control keys 2a1 to 2a10, will be explained. Figure 8(a) is a diagram illustrating the timbre waveform Tw in the second embodiment. In Figure 7(a), the timbre waveform Tw is created by adding the element waveforms Ew1, Ew3, Ew5 to Ew7 (Figures 7(b) to (f)) corresponding to the control keys 2a1, 2a3, 2a5 to 2a7 pressed by user H.

[0075] Similar to the first embodiment, in the second embodiment, the process in S32 of Figure 6(a) creates a timbre waveform Tw, creates a musical tone using the created timbre waveform Tw, and plays the musical tone; however, the processing content differs from that of the first embodiment. Here, with reference to Figure 8(b), the musical tone generation process by S32 in the second embodiment will be explained.

[0076] Figure 8(b) is a diagram illustrating the musical tone generation process by S32 in the second embodiment. In the second embodiment, the DSP 104 comprises oscillators 600a to 600j, multipliers 610a to 610j, a mixer 611, and the filters 601, amplifiers 602, and envelope generators 603 and 604 described above in Figure 6(c). The oscillators 600a to 600j each generate element waveforms Ew1 to Ew10 based on the input amplitude value D and sound pitch Pt.

[0077] The multipliers 610a to 610j are connected to oscillators 600a to 600j, respectively, and specify the frequencies of the element waveforms Ew1 to Ew10 generated by oscillators 600a to 600j. Specifically, the multiplier 610a is connected to oscillator 600a and specifies the frequency of the element waveform Ew1 generated by oscillator 600a to be 1 times the sound pitch Pt (i.e., the sound pitch Pt itself). As a result, oscillator 600a generates an element waveform Ew1 with the amplitude value D of the control key 2a1 as the amplitude and the sound pitch Pt as the frequency, and outputs it to the mixer 611 described later.

[0078] The multiplier unit 610b is connected to the oscillator 600b and specifies that the frequency of the element waveform Ew2 generated by the oscillator 600b is twice the frequency of the sound pitch Pt (i.e., the second harmonic). As a result, the oscillator 600b generates an element waveform Ew2 with the amplitude value D of the control key 2a2 as its amplitude and the frequency being twice the frequency of the sound pitch Pt, and outputs it to the mixer 611.

[0079] Similarly, the multipliers 610c to 610j are connected to oscillators 600c to 600j, respectively, and specify the frequencies of the element waveforms Ew3 to Ew10 generated by oscillators 600c to 600j to be 3 to 10 times the sound pitch Pt (i.e., 3 to 10 harmonics). As a result, oscillators 600c to 600j generate element waveforms Ew3 to Ew10, each with amplitudes equal to the amplitude values ​​D of control keys 2a3 to 2a10 and frequencies equal to 3 to 10 times the sound pitch Pt, and these are output to mixer 611.

[0080] Mixer 611 creates a timbre waveform Tw by adding (combining, mixing) the element waveforms Ew1 to Ew10 input from oscillators 600a to 600j, and then creates waveform data based on that timbre waveform Tw.

[0081] In mixer 611, the absolute value of the amplitude of the waveform resulting from the sum of element waveforms Ew1 to Ew10 is calculated so that the amplitude of the created timbre waveform Tw is within the range of the minimum value (-1.0) to the maximum value (1.0) of the amplitude of the timbre waveform Tw. The maximum value among the calculated absolute values ​​is obtained, and the waveform obtained by dividing the amplitude of the waveform resulting from the sum of element waveforms Ew1 to Ew10 by the obtained maximum value may be used as the timbre waveform Tw.

[0082] The waveform data created by the mixer 611 is input to the filter 601 described above, and then, after passing through the amplifier 602, DAC 106, amplifier 107, and speaker 108, it is emitted as musical sound.

[0083] Thus, in the synthesizer 20 of the second embodiment, the amplitudes of the fundamental tone and each harmonic element waveform Ew1 to Ew10 based on the sound generation pitch Pt are set according to the pressing position of the control keys 2a1 to 2a10, and the timbre waveform Tw is created (modified) by adding the set element waveforms Ew1 to Ew10. That is, the amplitudes of the fundamental tone and each harmonic included in the timbre waveform Tw become the size corresponding to the pressing position of the corresponding control keys 2a1 to 2a10, so that the user H can intuitively grasp the components of the fundamental tone and each harmonic in the timbre waveform Tw and change the fundamental tone and each harmonic included in the timbre waveform Tw in detail. This makes it possible to easily and precisely change the harmonious timbre characteristics of the fundamental tone and each harmonic.

[0084] Next, the synthesizer 30 of the third embodiment will be described with reference to Figures 9 and 10. In the synthesizers 1 and 20 of the first and second embodiments described above, the press positions obtained from the control keys 2a1 to 2a10 were used directly to calculate the amplitude value and to create the timbre waveform Tw using that amplitude value.

[0085] In contrast, in the synthesizer 30 of the third embodiment, the pressed positions of the control keys 2a1 to 2a10 are set to interpolated pressed positions P, which are interpolated based on the pressed positions of the other control keys 2a1 to 2a10. The set interpolated pressed positions P are used to calculate the amplitude value and to create the timbre waveform Tw using that amplitude value. The same reference numerals are used for the same components as in the first and second embodiments described above, and their detailed descriptions are omitted.

[0086] Figure 9(a) is a flowchart of the main process of the third embodiment. In the main process of the third embodiment, after the process of S1, the interkey interpolation process (S50) is executed, followed by the smoothing process of S2 and subsequent processes. The interkey interpolation process is a process that calculates the interpolated pressing position P, which is the pressing position of control keys 2a1 to 2a10, interpolated using the pressing positions of other control keys 2a1 to 2a10. The interpolated pressing positions P of control keys 2a1 to 2a10 calculated in the interkey interpolation process are used as the pressing positions of control keys 2a1 to 2a10 in the smoothing process of S2. The details of the interkey interpolation process of S50 will now be explained with reference to Figures 9(b), (c) and Figure 10.

[0087] Figure 9(b) shows the interpolated pressing positions P of the control keys 2a1 to 2a10 when all control keys 2a1 to 2a10 are released in the third embodiment. Figures 9(b), (c) and 10 show schematic representations of the control keys 2a1 to 2a10, and similar to the actual control keys 2a1 to 2a10, the schematic control keys 2a1 to 2a10 are also arranged at equal intervals in the left-right direction. In Figures 9(b), (c) and 10, the vertical positions of the control keys 2a1 to 2a10 represent the pressing position or the interpolated pressing position P.

[0088] As shown in Figure 9(b), in the third embodiment, when all control keys 2a1 to 2a10 are released, in the process of S50, the pressing positions when each control key 2a1 to 2a10 is released are set as the interpolated pressing positions P for each control key 2a1 to 2a10.

[0089] Next, we will explain the pressing positions of control keys 2a1 to 2a10 when one of the control keys 2a1 to 2a10 is pressed. Figure 9(c) is a diagram showing the interpolated pressing positions P of control keys 2a1 to 2a10 when one of the control keys 2a1 to 2a10 (control key 2a1) is pressed in the third embodiment, and Figure 10(a) is a diagram showing the interpolated pressing positions P of control keys 2a1 to 2a10 when another of the control keys 2a1 to 2a10 (control key 2a4) is pressed in the third embodiment.

[0090] In the S50 process, if only one of the control keys 2a1 to 2a10 is pressed, the interpolated pressing position P for the control keys 2a1 to 2a10 is set based on the pressing position of one of the pressed control keys 2a1 to 2a10, the pressing position of the leftmost control key 2a1, and the pressing position of the rightmost control key 2a10.

[0091] In Figure 9(c), only control key 2a1 is pressed. In this case, since the pressed control key 2a1 is the leftmost one, the interpolated pressing positions P for control keys 2a1 to 2a10 are set from the pressing position of control key 2a1 and the pressing position of control key 2a10, which is the rightmost one. In this case, control key 2a1 is referred to as the "first target operator" and control key 2a10 as the "second target operator".

[0092] Specifically, first, a straight line L1 is calculated that connects the pressed position of the pressed control key 2a1 and the pressed position of the rightmost control key 2a10, and crosses control keys 2a2 to 2a9 between these two points. The pressed position of control key 2a1, which is the starting point of the calculated straight line L1, is set as the interpolated pressed position P of control key 2a1, and the pressed position of control key 2a10, which is the ending point of the straight line L1, is set as the interpolated pressed position P of control key 2a10.

[0093] The interpolated press positions P for control keys 2a2 to 2a9, which are located between control key 2a1 and control key 2a10, are set at the intersections of the line L1 and control keys 2a2 to 2a9, respectively. In this way, the interpolated press positions P for control keys 2a1 to 2a10 are set when only control key 2a1 is pressed. The interpolated press positions P for control keys 2a1 to 2a10 when only control key 2a10 is pressed are set in the same way as in Figure 9(c).

[0094] Next, referring to Figure 10(a), we will explain how to set the interpolated pressing positions P for control keys 2a1 to 2a10 when only control key 2a4 is pressed. When only control key 2a4 is pressed, first, a straight line L2 is calculated that connects the pressing position of the leftmost control key 2a1 and the pressing position of control key 2a4, and crosses control keys 2a2 and 2a3 between them. In this case, control key 2a1 is referred to as the "first target operator," and control key 2a4 is referred to as the "second target operator."

[0095] The pressed position of control key 2a1, which is the starting point of the calculated line L2, is set to the interpolated pressed position P of control key 2a1, and the pressed position of control key 2a4, which is the ending point of line L2, is set to the interpolated pressed position P of control key 2a4. The interpolated pressed positions P of control keys 2a2 and 2a3, which are located between these points, are set to the positions of the intersections of line L2 and control keys 2a2 and 2a3, respectively.

[0096] Furthermore, the pressed position of control key 2a4 and the pressed position of the rightmost control key 2a10 are connected, and a straight line L3 is calculated that crosses control keys 2a5 to 2a9 between these two points. In this calculation, control key 2a4 is designated as the "first target operator," and control key 2a10 is designated as the "second target operator." The pressed position of control key 2a10, which is the endpoint of the calculated straight line L3, is set as the interpolated pressed position P for control key 2a10. The interpolated pressed positions P for control keys 2a5 to 2a9, which are located between these points, are set at the intersections of the straight line L3 and control keys 2a5 to 2a9, respectively.

[0097] In this way, the interpolated press positions P for control keys 2a1 to 2a10 are set when only control key 2a4 is pressed. Note that the interpolated press positions P for control keys 2a1 to 2a10 are also set in the same way as in Figure 10(a) when only control keys 2a2, 2a3, 2a5 to 2a9 are pressed.

[0098] Next, with reference to Figure 10(b), the interpolated pressing position P when two of the control keys 2a1 to 2a10 are pressed will be explained. Figure 10(b) is a diagram showing the interpolated pressing position P of the control keys 2a1 to 2a10 when two of the control keys 2a1 to 2a10 (control keys 2a3 and 2a7) are pressed in the third embodiment.

[0099] When both control keys 2a3 and 2a7 are pressed, first, a line L4 is calculated connecting the pressed position of the leftmost control key 2a1 and the pressed position of the pressed control key 2a3, and crossing control key 2a2 between them. In this case, control key 2a1 is referred to as the "first target operator," and control key 2a3 as the "second target operator."

[0100] The pressing position of control key 2a1, which is the starting point of line L4, is set to the interpolated pressing position P of control key 2a1, and the pressing position of control key 2a3, which is the ending point of line L4, is set to the interpolated pressing position P of control key 2a3. The interpolated pressing position P of control key 2a2, which is located between these two points, is set to the position of the intersection of line L4 and control key 2a2.

[0101] Next, the pressed position of the pressed control key 2a3 and the pressed position of the similarly pressed control key 2a7 are connected, and a straight line L5 is calculated that crosses control keys 2a4 to 2a6 between them. In this case, control key 2a3 is designated as the "first target operator" and control key 2a7 as the "second target operator". The pressed position of control key 2a7, which is the endpoint of the straight line L5, is set as the interpolated pressed position P of control key 2a7. The interpolated pressed positions P of control keys 2a4 to 2a6, which are located between control keys 2a3 and 2a7, are set at the intersections of the straight line L5 and control keys 2a4 to 2a6, respectively.

[0102] Furthermore, a straight line L6 is calculated by connecting the pressed position of the pressed control key 2a7 with the pressed position of the rightmost control key 2a10, and traversing the control keys 2a8 and 2a9 between them. In this case, control key 2a7 is designated as the "first target operator," and control key 2a10 is designated as the "second target operator." The pressed position of control key 2a10, which is the endpoint of the straight line L6, is set as the interpolated pressed position P of control key 2a10. The interpolated pressed positions P of control keys 2a8 and 2a9, which are located between control keys 2a7 and 2a10, are set at the intersections of the straight line L6 and control keys 2a8 and 2a9, respectively.

[0103] In this way, the interpolated press positions P for control keys 2a1 to 2a10 are set when control keys 2a3 and 2a7 are pressed. Similarly, the interpolated press positions P for control keys 2a1 to 2a10 are set when two of the control keys other than 2a3 and 2a7 are pressed. Furthermore, the interpolated press positions P for control keys 2a1 to 2a10 are set using the method described above when three or more of the control keys 2a1 to 2a10 are pressed.

[0104] Thus, in the synthesizer 30 of the third embodiment, during the processing of S50, a straight line is calculated connecting the pressed positions of the pressed control keys 2a1 to 2a10, the pressed position of control key 2a1, and the pressed position of control key 2a10. The intersection points of the calculated straight line and the positions of the control keys 2a1 to 2a10 are set as the interpolated pressed positions P of the control keys 2a1 to 2a10, respectively. These interpolated pressed positions P are used as the pressed positions of the control keys 2a1 to 2a10 in the smoothing process of S2.

[0105] For example, as shown in Figure 10(b), when the pressed control key 2a7 and the released control keys 2a8-2a10 are adjacent to each other, the actual pressed position will be lower for control key 2a7, while the released control keys 2a8-2a10 will be higher. In other words, in the sequence of control keys 2a7-2a10, only the pressed position of control key 2a7 drops sharply.

[0106] If the timbre waveform Tw (see Figure 2(b)) is created based on such a pressing position, particularly in the first embodiment, the timbre waveform Tw will have a distorted shape in which the amplitude of the division period ΔT7 drops sharply compared to the amplitude of the division periods ΔT8 to ΔT10. Musical tones produced using such a distorted timbre waveform Tw may cause listeners to perceive an unpleasant sound.

[0107] Therefore, by setting the interpolated press positions P of control keys 2a7 to 2a10 based on the straight line L6 connecting the press position of control key 2a7 and the press position of control key 2a10, the interpolated press positions P of control keys 2a7 to 2a10 can be increased in stages from the lowest control key 2a7 to the highest control key 2a10. This suppresses distortion of the shape of the timbre waveform Tw, so that musical tones produced using such a timbre waveform Tw can be made less jarring to the listener.

[0108] The above description is based on the above embodiment, but it can be easily inferred that various improvements and modifications are possible.

[0109] Although synthesizers 1, 20, and 30 have been described in the above embodiments, a synthesizer may be configured by appropriately combining the functions of synthesizers 1, 20, and 30. For example, synthesizer 1 of the first embodiment and synthesizer of the second embodiment may be combined.

[0110] In this case, among the keys 2a provided on the keyboard 2, control keys 2a1 to 2a10 for creating the timbre waveform Tw of the first embodiment and control keys 2a1 to 2a10 for creating the timbre waveform Tw of the second embodiment are assigned separately. When control keys 2a1 to 2a10 for creating the timbre waveform Tw of the first embodiment are pressed, the timbre waveform Tw of the first embodiment is created. When control keys 2a1 to 2a10 for creating the timbre waveform Tw of the second embodiment are pressed, the timbre waveform Tw of the second embodiment is created. In this case, if control keys 2a1 to 2a10 for creating the timbre waveform Tw of the first embodiment and control keys 2a1 to 2a10 for creating the timbre waveform Tw of the second embodiment are pressed simultaneously, a mixture of the timbre waveforms Tw of the first and second embodiments is created as the timbre waveform Tw.

[0111] In the first and second embodiments, the pressing positions of the control keys 2a1 to 2a10 were used directly to calculate the amplitude value, and in the third embodiment, the interpolated pressing positions P of the control keys 2a1 to 2a10 were used directly to calculate the amplitude value, but the invention is not limited to these. An output function that takes the pressing position or interpolated pressing position P as input may be provided for each control key 2a1 to 2a10, and the output value resulting from inputting the pressing position or interpolated pressing position P of the control keys 2a1 to 2a10 into each output function may be used to calculate the amplitude value. Linear functions, quadratic functions, exponential functions, logarithmic functions, and trigonometric functions are given as examples of output functions, but other functions may also be used. Furthermore, the output function may be composed of a single function or a combination of multiple functions.

[0112] In this way, an output function is provided for each control key 2a1 to 2a10 that takes the pressed position or interpolated pressed position P as input, and the amplitude value is calculated using the output value of that output function. For example, even if two of the pressed positions or interpolated pressed positions P of control keys 2a1 to 2a10 are the same, if their output functions are different, the output values ​​will be different. As a result, even if the pressed positions or interpolated pressed positions P of each of the control keys 2a1 to 2a10 are the same, the shape of the timbre waveform Tw can be varied in many ways, making it easy to create a variety of musical tones based on the timbre waveform Tw.

[0113] In the above embodiment, the controls for calculating the amplitude value are control keys 2a1 to 2a10, which consist of 10 consecutive white keys from the keys 2a provided on the keyboard 2, but the invention is not limited to this. The controls for calculating the amplitude value may consist of consecutive black keys from the keys 2a, or a combination of consecutive white and black keys. Alternatively, the controls for calculating the amplitude value may consist of other controls such as the setting key 3. Furthermore, the number of controls for calculating the amplitude value is not limited to 10, such as the control keys 2a1 to 2a10, but may be 10 or more, or 10 or less.

[0114] In the above embodiment, the amplitude value was calculated based on the pressing position of the control keys 2a1 to 2a10, but this is not limited to this. For example, touch sensors such as capacitive or pressure-sensitive sensors may be provided on the surface of each of the control keys 2a1 to 2a10, and the amplitude value of the control keys 2a1 to 2a10 may be calculated according to the vertical or horizontal position of the control keys 2a1 to 2a10 in a top view as detected by the touch sensors of the control keys 2a1 to 2a10.

[0115] For example, when setting the amplitude value based on the vertical position of control keys 2a1 to 2a10 in a top view, a larger amplitude value should be set for higher positions detected by the touch sensor, and a smaller amplitude value for lower positions detected by the touch sensor. Similarly, when setting the amplitude value based on the horizontal position of control keys 2a1 to 2a10 in a top view, a larger amplitude value should be set for rightward positions detected by the touch sensor, and a smaller amplitude value for leftward positions detected by the touch sensor.

[0116] Furthermore, a timbre waveform Tw may be created based on a combination of the pressing position of the control keys 2a1 to 2a10 and the vertical or horizontal position of the control keys 2a1 to 2a10 in a top view. For example, when creating a timbre waveform Tw according to the second embodiment, the shape of the element waveforms Ew1 to Ew10 (sine wave, square wave, sawtooth wave, etc.) may be selected according to the horizontal position in a top view detected by the touch sensors of the control keys 2a1 to 2a10, and the amplitude of the element waveforms Ew1 to Ew10 of the selected shape may be set according to the pressing position of the control keys 2a1 to 2a10.

[0117] This allows user H to set the waveform shape of element waveforms Ew1 to Ew10 for each control key 2a1 to 2a10 by operating the control keys 2a1 to 2a10 in the left-right direction from a top view. Furthermore, the amplitude of element waveforms Ew1 to Ew10 can be changed by the pressing position of the control keys 2a1 to 2a10, thus enabling a wider variety of timbres to be applied to the musical sound being produced.

[0118] In the above embodiment, when the control target position changes due to the smoothing process shown in Figure 5(b), the control press position of the target control key 2aX is gradually changed to the control target position over 10 milliseconds, but this is not limited to this. For example, when the control target position changes, the control press position of the target control key 2aX may be changed to the control target position immediately.

[0119] In the above embodiment, the second operator is a pedal 4, and when pedal 4 is pressed, the tone waveform Tw immediately before pedal 4 was pressed is maintained, but this is not limited to this. The second operator may be configured as a setting key 3, as a key 2a other than the control keys 2a1 to 2a10, or as any other operator.

[0120] In the above embodiment, the pitch of sound production was obtained from an arpeggiator or sequencer in the pitch control process shown in Figure 6(b), but it is not limited to this. For example, the pitch of sound production may be obtained based on pressing a key 2a of the keyboard 2 that is different from the control keys 2a1 to 2a10. In this case, it is preferable to set the control keys 2a1 to 2a10 to keys 2a located on the left side of the keyboard 2, which are easy for user H to play with their left hand, and to set the key 2a from which the pitch of sound production is obtained to be located on the right side of the keyboard 2, which are easy for user H to play with their right hand.

[0121] This allows user H to input the "pitch of the musical tone" by operating key 2a with their right hand, and to input the timbre of the timbre waveform Tw based on that operation as the "timbre of the musical tone" by operating control keys 2a1 to 2a10 with their left hand. Furthermore, in this case, it is preferable to have five or fewer control keys, such as control keys 2a1 to 2a5, to match the number of fingers on user H's left hand.

[0122] Alternatively, the pitch of the sound may be obtained from another computer connected to synthesizers 1, 20, and 30 via a network such as the Internet.

[0123] In the first embodiment, the range over which the shape of the timbre waveform Tw is deformed based on the pressing positions of the control keys 2a1 to 2a10 is set to one cycle of the timbre waveform Tw, but this is not limited to this. The range over which the shape of the timbre waveform Tw is deformed based on the pressing positions of the control keys 2a1 to 2a10 may be a period of one or more cycles of the timbre waveform Tw, or a period of one or less cycles.

[0124] In the first embodiment, the division periods ΔT1 to ΔT10 were set to the same length, but the embodiment is not limited to this, and the lengths of the division periods ΔT1 to ΔT10 may be different. For example, the division period ΔT1 may be set to be longer than the division period ΔT2, or the division period ΔT7 may be set to be longer than the division period ΔT6. Alternatively, the lengths of the division periods ΔT1 to ΔT10 may be set randomly.

[0125] In the first embodiment, the amplitude in the division period ΔT1 to ΔT10 was set to a larger value as the pressing position of the corresponding control keys 2a1 to 2a10 increased, and to a smaller value as the pressing position of the corresponding control keys 2a1 to 2a10 decreased. However, the embodiment is not limited to this. For example, the amplitude in the division period ΔT1 to ΔT10 could be set to a smaller value as the pressing position of the control keys 2a1 to 2a10 increases, and the amplitude in the division period ΔT1 to ΔT10 could be set to a larger value as the pressing position of the control keys 2a1 to 2a10 decreases.

[0126] In the first embodiment, the amplitude set in each of the division periods ΔT1 to ΔT10 is configured to continue throughout each of those division periods ΔT1 to ΔT10, but the embodiment is not limited to this, and the amplitude during each of the division periods ΔT1 to ΔT10 may be changed based on the set amplitude. For example, the amplitude value set in each of the division periods ΔT1 to ΔT10 may be set at a predetermined point in time in each of the division periods ΔT1 to ΔT10 (for example, at the start of each of the division periods ΔT1 to ΔT10), and the timbre waveform Tw may be formed by connecting these predetermined points in adjacent division periods ΔT1 to ΔT10. In this case, these predetermined points in adjacent division periods ΔT1 to ΔT10 may be connected linearly (in a straight line) or nonlinearly (for example, in a curve).

[0127] In the third embodiment, the schematic control keys 2a1 to 2a10 are arranged at equal intervals in the left-right direction, but this is not limited to this. The spacing between the schematic control keys 2a1 to 2a10 in the left-right direction may be different. For example, the spacing between control key 2a1 and control key 2a2 may be greater than the spacing between control key 2a2 and control key 2a3.

[0128] In the above embodiment, the control program 101a was stored in the flash ROM 101 of synthesizers 1, 20, and 30 and operated on synthesizers 1, 20, and 30, but it is not limited to this. The control program 101a may also be operated on other electronic musical instruments such as electronic pianos. Furthermore, the control program 101a may also be operated on other computers and electronic devices such as PCs (personal computers), mobile phones, smartphones, and tablet terminals. In this case, a keyboard device with the same configuration as keyboard 2 should be connected to the PC or mobile phone, etc. [Explanation of Symbols]

[0129] 1, 20, 30 Synthesizers (electronic musical instruments, electronic devices) 2 keys 2a Key (operator) 2a1 Control key (first target operator) 2a3, 2a4 Control keys (first target operator, second target operator) 2a7, 2a10 Control keys (second target operator) 4 Pedals (Second control) 101a Control program (tone change program) Ew1~Ew10 Elemental Waveforms S10 Tone waveform maintenance means S15,16 Control set value setting means S22, S30~S32 Waveform deformation means, musical sound generation means, output means, waveform deformation step, musical sound generation step, output step S50 Set value interpolation means T period (predetermined period) Tw tone waveform ΔT1~ΔT10 division period

Claims

1. An electronic device equipped with multiple controls that outputs musical tones, A waveform transformation means that transforms the timbre waveform, which is a basic waveform representing the timbre of the musical sound being output, based on the setting value corresponding to the operation on each of the aforementioned controls, A musical tone generation means that generates the musical tone based on the timbre waveform transformed by the waveform deformation means and the input pitch information, An electronic device characterized by comprising an output means for outputting musical sounds generated by the aforementioned musical sound generation means.

2. A division period is set by dividing a predetermined period in the aforementioned tone waveform by the number of operators. Each of the aforementioned division periods is assigned to the respective operator. The electronic device according to claim 1, characterized in that the waveform deformation means sets the amplitude in the corresponding division period based on the magnitude of the setting value of each of the operators, and deforms the tone waveform based on the set amplitude in each of the division periods.

3. The electronic device according to claim 2, characterized in that the predetermined period is one period in the tone waveform.

4. Each of the above operators is assigned to the fundamental tone and harmonics. The electronic device according to claim 1, characterized in that the waveform deformation means creates elemental waveforms, which are fundamental and harmonic waveforms having amplitudes based on the magnitude of the set value of the operator, for each operator, and deforms the timbre waveform based on each of the created elemental waveforms.

5. For each of the aforementioned operators, an output function is provided, which is a function that takes the setting value of the operator as input. The electronic device according to claim 1, characterized in that the waveform deformation means deforms the tone waveform based on the output value resulting from inputting the setting value of the operator to the corresponding output function.

6. It is equipped with a second operator different from the aforementioned operator, The electronic device according to claim 1, further comprising a tone waveform maintenance means for maintaining the tone waveform at the time the second operator was operated when the setting value of the second operator reaches a predetermined value.

7. When the setting value of the operator is changed, the system includes a control setting value setting means for setting control setting values ​​during the transitional stages from the setting value before the change to the setting value after the change. The electronic device according to claim 1, characterized in that the waveform deformation means deforms the tone waveform based on a control setting value set by the control setting value setting means.

8. The aforementioned operators are arranged in a row, The system includes a setting value interpolation means that interpolates the setting values ​​of other operators located between the first and second target operators according to the difference between the setting value of the first target operator, which is the operator 1, and the setting value of the second target operator, which is a different operator from the first target operator. The electronic device according to claim 1, characterized in that the waveform deformation means deforms the tone waveform based on the set value of the first target operator and the set value of the second target operator and the set value of the other operator interpolated by the set value interpolation means.

9. The aforementioned electronic device is an electronic musical instrument, The aforementioned control is composed of keys on the keyboard of an electronic musical instrument. The electronic device according to any one of claims 1 to 8, characterized in that the waveform deformation means deforms the tone waveform based on the pressing position of each of the keys.

10. The electronic device according to claim 9, characterized in that the operator is composed of 10 white keys arranged in a row on the keyboard.

11. A method for changing the tone of an electronic device equipped with multiple controls, A waveform transformation step is performed to transform the timbre waveform, which is the basic waveform representing the timbre of the musical sound being output, based on the setting value corresponding to the operation on each of the aforementioned controls, A musical tone generation step that generates the musical tone based on the timbre waveform transformed in the waveform transformation step and the input pitch information, A method for changing timbre, characterized by comprising an output step that outputs the musical sound generated in the aforementioned musical sound generation step.

12. A timbre modification program that causes a computer equipped with multiple controls to perform a process to change the timbre of a musical sound being output, A waveform transformation step is performed to transform the timbre waveform, which is the basic waveform representing the timbre of the musical sound being output, based on the setting value corresponding to the operation on each of the aforementioned controls, A musical tone generation step that generates the musical tone based on the timbre waveform transformed in the waveform transformation step and the input pitch information, A tone-changing program characterized by causing the computer to execute an output step that outputs the musical sound generated in the aforementioned musical sound generation step.

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