Sound control device and sound control program

Abstract

To provide an acoustic control device and an acoustic program that can easily mix a first music piece with a second music piece without discomfort.SOLUTION: An acoustic control device for mixing a first and second music piece includes a playback control unit 68 that moves a playback position of the first music piece to a first position in the first music piece and moves a playback position of the second music piece to a second position before a predetermined scheduled mixing position with the first music piece in the second music piece in response to an operation of an operator that controls volume of the first music piece and volume of the second music piece.SELECTED DRAWING: Figure 9

Description

Technical Field

[0001] The present invention relates to an acoustic control device and an acoustic control program.

Background Art

[0002] Conventionally, an acoustic device that mixes and outputs a plurality of musical pieces is known (see, for example, Patent Document 1). The acoustic device described in Patent Document 1 is a so-called mixer, which mixes musical pieces supplied from musical piece supply devices such as a PC and a smartphone, and outputs an audio signal corresponding to the mixed musical pieces to a speaker. The acoustic device includes operators such as a first channel fader, a second channel fader, and a crossfader. Each of the first channel fader and the second channel fader has an operator movable up and down, and the crossfader has an operator movable left and right. When the first channel fader is operated, the acoustic device adjusts the volume of the musical piece input to the first channel from the musical piece supply device, and when the second channel fader is operated, the acoustic device adjusts the volume of the musical piece input to the second channel from the musical piece supply device. In addition, when the crossfader is operated, the acoustic device adjusts the balance between the volume of the first channel and the volume of the second channel. For example, as the operator of the crossfader is moved leftward, the proportion of the first channel in the volume output from the acoustic device increases, and as the operator is moved rightward, the proportion of the second channel in the volume output from the acoustic device increases.

Prior Art Documents

Patent Documents

[0003]

Patent Document 1

Summary of the Invention

Problems to be Solved by the Invention

[0004] However, when mixing music input to the first channel with music input to the second channel, there is a problem in that it is difficult for inexperienced users, such as beginners, to mix the music from the first channel and the music from the second channel smoothly when operating the sound equipment. [Means for solving the problem]

[0005] An audio control device according to a first aspect of the present invention is an audio control device for mixing a first song and a second song, comprising a playback control unit that, in response to the operation of controls for adjusting the volume of the first song and the volume of the second song, moves the playback position of the first song to a first position in the first song and moves the playback position of the second song to a second position in the second song that is earlier than a predetermined mixing position with the first song.

[0006] The acoustic control program according to the second aspect of the present invention is recorded in a computer-readable format, causing the computer to function as the acoustic control device according to the first aspect. [Brief explanation of the drawing]

[0007] [Figure 1] A schematic diagram showing the configuration of the acoustic control device in the first embodiment. [Figure 2] A schematic diagram showing the high-frequency bandwidth adjustment unit, the medium-frequency bandwidth adjustment unit, and the low-frequency bandwidth adjustment unit in the first embodiment. [Figure 3] A block diagram showing the control unit in the first embodiment. [Figure 4] This figure shows the change in the overall volume of the first track and the change in the overall volume of the second track when the crossfader in the first embodiment is operated. [Figure 5] This figure shows the changes in volume levels for each frequency band of the first track and the changes in volume levels for each frequency band of the second track when the crossfader is operated in normal mode in the first embodiment. [Figure 6]This figure shows an example of the change in BPM during playback of the first and second tracks when the crossfader is operated in assist mode in the first embodiment. [Figure 7] This figure shows the change in the overall volume of the first track when the first channel fader is operated in the first embodiment, and the change in the overall volume of the second track when the second channel fader is operated. [Figure 8] This figure shows an example of the change in BPM during playback of the first and second tracks when the first channel fader and the second channel fader are operated in assist mode in the first embodiment. [Figure 9] A diagram illustrating an example of the first regeneration control process in the first embodiment. [Figure 10] A diagram illustrating an example of the third regeneration control process in the first embodiment. [Figure 11] A block diagram showing the control unit included in the acoustic control device in the second embodiment. [Figure 12] This figure shows the change in volume levels for each frequency band of the first and second tracks when the crossfader is operated in assist mode in the second embodiment. [Figure 13] This figure shows the change in volume levels for each frequency band of the first and second songs when the set level of the low-frequency band of the first song in the second embodiment is 0.6. [Figure 14] This figure shows another example of the change in BPM during playback of the first and second tracks when the crossfader is operated in assist mode in the second embodiment. [Figure 15] This figure shows the changes in volume levels of the high-frequency and mid-frequency bands of the first track when the first channel fader is operated in assist mode in the second embodiment, and the changes in volume levels of the high-frequency and mid-frequency bands of the second track when the second channel fader is operated. [Figure 16]A diagram showing an example of changes in the volume level of the low frequency band of each of the first musical piece and the second musical piece when the first channel fader and the second channel fader are operated in the assist mode according to the second embodiment. [Mode for Carrying Out the Invention]

[0008] [First Embodiment] Hereinafter, the first embodiment of the present invention will be described based on the drawings. [Configuration of Audio Control Apparatus] FIG. 1 is a schematic diagram showing the configuration of an audio control apparatus 1 according to the present embodiment. The audio control apparatus 1 according to the present embodiment mixes a plurality of musical pieces. Specifically, the audio control apparatus 1 mixes a first musical piece loaded to a first channel and a second musical piece loaded to a second channel, and outputs an audio signal corresponding to the mixed musical piece. As will be described later in detail, one of the features of the audio control apparatus 1 is that it includes a normal mode in which the first musical piece and the second musical piece are mixed according to a plurality of operators, and an assist mode that assists the mixing of the first musical piece and the second musical piece. As shown in FIG. 1, the audio control apparatus 1 includes a housing 2, two channel operation units 3, a mode changeover switch 4, and a crossfader 5. Although not illustrated in FIG. 1, the audio control apparatus 1 further includes a control unit 6 (see FIG. 3) that controls the operation of the audio control apparatus 1.

[0009] [Configuration of Housing] The housing 2 is formed in a substantially rectangular parallelepiped shape and accommodates the control unit 6 therein. The housing 2 has a top surface 21, an upper surface 22, a lower surface 23, a left side surface 24, a right side surface 25, and a bottom surface (not shown). On the top surface 21, the two channel operation units 3, the mode changeover switch 4, and the crossfader 5 are arranged.

[0010] [Configuration of Channel Operation Unit] The two channel operation units 3 operate the playback state of the music loaded into the corresponding channel. The two channel operation units 3 are a first channel operation unit 3A that operates the playback state of the first music loaded into the first channel, and a second channel operation unit 3B that operates the playback state of the second music loaded into the second channel. Each of the channel operation units 3A and 3B includes a jog dial 31, an equalizer adjustment unit 32, a channel fader 33, and a tempo slider 34.

[0011] The jog dial 31 is rotatably provided on the top surface 21, and is a dial used when adjusting the playback direction and playback speed of the music being played. Note that when the user combines a change in the rotation direction and a change in the rotation speed of the jog dial 31, a scratch operation unique to DJ performance is performed.

[0012] The equalizer adjustment unit 32 performs equalizer adjustment processing for the corresponding channel. Specifically, the equalizer adjustment unit 32 of the first channel operation unit 3A performs equalizer adjustment processing for the first channel, and the equalizer adjustment unit 32 of the second channel operation unit 3B performs equalizer adjustment processing for the second channel. Each equalizer adjustment unit 32 has a level adjustment unit 321, a high-frequency band adjustment unit 322, a mid-frequency band adjustment unit 323, a low-frequency band adjustment unit 324, and an effect adjustment unit 325. The level adjustment unit 321, the high-frequency band adjustment unit 322, the mid-frequency band adjustment unit 323, the low-frequency band adjustment unit 324, and the effect adjustment unit 325 are rotary encoders each having a knob rotatable in one direction and the other direction around a rotation axis.

[0013] The level adjustment unit 321 adjusts the input level of the input music. The effect adjustment unit 325 is an operator that adjusts the effect amount of the effect set in the corresponding channel operation unit 3.

[0014] Figure 2 is a schematic diagram showing the high-frequency band adjustment unit 322, the medium-frequency band adjustment unit 323, and the low-frequency band adjustment unit 324. In Figure 2, the high-frequency band adjustment unit 322, the medium-frequency band adjustment unit 323, and the low-frequency band adjustment unit 324 are each positioned at the point "0.5". The high-frequency band adjustment unit 322 adjusts the volume level of the high-frequency band of the input music. The high-frequency band is, for example, a frequency band of 4649 Hz or higher. As shown in Figure 2, the high-frequency band adjustment unit 322 adjusts the volume level within a range of 0 to 1. If the volume level set by the high-frequency band adjustment unit 322 is considered the set level, then when the high-frequency band adjustment unit 322 is rotated to its counterclockwise limit position, the set level of the high-frequency band becomes 0, and when it is rotated to its clockwise limit position, the set level of the high-frequency band becomes 1. That is, when the high-frequency band adjustment unit 322 is positioned to point to "0", the set level of the high-frequency band becomes 0, and when the high-frequency band adjustment unit 322 is positioned to point to "1", the set level of the high-frequency band becomes 1. Also, when the high-frequency band adjustment unit 322 is positioned to point to "0.5", the set level of the high-frequency band becomes 0.5.

[0015] Hereinafter, the set level of the high frequency band of the first song, as set by the high frequency band adjustment unit 322 of the first channel operation unit 3A, will be referred to as set level H1lv. The set level of the high frequency band of the second song, as set by the high frequency band adjustment unit 322 of the second channel operation unit 3B, will be referred to as set level H2lv. Set level H1lv is the maximum level of the high frequency band of the first song, and is the volume level set by the user using the high frequency band adjustment unit 322 of the first channel operation unit 3A. Set level H2lv is the maximum level of the high frequency band of the second song, and is the volume level set by the user using the high frequency band adjustment unit 322 of the second channel operation unit 3B. Furthermore, the minimum volume level in the high-frequency band of the first track is defined as minimum level H1min, and the minimum volume level in the high-frequency band of the second track is defined as minimum level H2min. Minimum level H1min is a value smaller than the set level H1lv, and minimum level H2min is a value smaller than the set level H2lv. For convenience, in the following explanation, minimum levels H1min and H2min will be set to 0.

[0016] The mid-frequency band adjustment unit 323 adjusts the volume level of the mid-frequency band of the input music. The mid-frequency band is, for example, a frequency band above 284 Hz and below 4649 Hz. As shown in Figure 2, the mid-frequency band adjustment unit 323 adjusts the volume level within the range of 0 to 1. Setting the volume level using the mid-frequency band adjustment unit 323 is the same as setting the volume level using the high-frequency band adjustment unit 322. Hereinafter, the volume level set by the mid-frequency band adjustment unit 323 will be referred to as the set level. More specifically, the set level of the mid-frequency band of the first song, set by the mid-frequency band adjustment unit 323 of the first channel operation unit 3A, is called the set level M1lv. The set level of the mid-frequency band of the second song, set by the mid-frequency band adjustment unit 323 of the second channel operation unit 3B, is called the set level M2lv. The set level M1lv is the maximum level of the mid-frequency band of the first song, and is the volume level set by the user using the mid-frequency band adjustment unit 323 of the first channel operation unit 3A. The set level M2lv is the maximum level of the mid-frequency band of the second song, and is the volume level set by the user using the mid-frequency band adjustment unit 323 of the second channel operation unit 3B. Furthermore, the minimum volume level in the mid-frequency band of the first track is defined as minimum level M1min, and the minimum volume level in the mid-frequency band of the second track is defined as minimum level M2min. Minimum level M1min is a value smaller than the set level M1lv, and minimum level M2min is a value smaller than the set level M2lv. For convenience, in the following explanation, minimum levels M1min and M2min will be set to 0.

[0017] The low-frequency band adjustment unit 324 adjusts the volume level of the low-frequency band of the input music. The low-frequency band is, for example, a frequency band of 284 Hz or lower. As shown in Figure 2, the low-frequency band adjustment unit 324 adjusts the volume level within the range of 0 to 1. Setting the volume level using the low-frequency band adjustment unit 324 is the same as setting the volume level using the high-frequency band adjustment unit 322. Hereinafter, the volume level set by the low-frequency band adjustment unit 324 will be referred to as the set level. More specifically, the set level of the low-frequency band of the first song set by the low-frequency band adjustment unit 324 of the first channel operation unit 3A is called the set level L1lv. The set level of the low-frequency band of the second song set by the low-frequency band adjustment unit 324 of the second channel operation unit 3B is called the set level L2lv. The set level L1lv is the maximum level of the low-frequency band of the first song, and is the volume level set by the user using the low-frequency band adjustment unit 324 of the first channel operation unit 3A. The set level L2lv is the maximum level of the low-frequency band of the second song, and is the volume level set by the user using the low-frequency band adjustment unit 324 of the second channel operation unit 3B. Furthermore, the minimum volume level in the low-frequency band of the first track is defined as minimum level L1min, and the minimum volume level in the low-frequency band of the second track is defined as minimum level L2min. Minimum level L1min is a value smaller than the set level L1lv, and minimum level L2min is a value smaller than the set level L2lv. For convenience, in the following explanation, minimum levels L1min and L2min will be set to 0.

[0018] The channel faders 33 shown in Figure 1 are controls that adjust the volume output from the corresponding channel control unit 3. Specifically, the channel fader 33 of the first channel control unit 3A is the first channel fader 33A, and it adjusts the volume output from the first channel control unit 3A. The channel fader 33 of the second channel control unit 3B is the second channel fader 33B, and it adjusts the volume output from the second channel control unit 3B. Each channel fader 33 has a fader control 331 that can slide up and down. When the fader control 331 is operated upward, the volume control unit 65 (described later) increases the overall volume of the music output from the corresponding channel control unit 3. When the fader control 331 is operated downward, the volume control unit 65 decreases the overall volume of the music output from the corresponding channel control unit 3.

[0019] In the following explanation, the fader control 331 of the first channel fader 33A will be referred to as the first control 33A1, and the fader control 331 of the second channel fader 33B will be referred to as the second control 33B1. The first control 33A1 adjusts the overall volume of the first track loaded into the first channel, and the second control 33B1 adjusts the overall volume of the second track loaded into the second channel. Furthermore, the maximum volume for the entire first song is the first pre-set volume set by the first operator 33A1, and the maximum volume for the entire second song is the second pre-set volume set by the second operator 33B1. In addition, changing the overall volume of the music according to the position of the fader control 331 means increasing or decreasing the volume of each frequency band by amplifying the high-frequency band signal with an intensity corresponding to the set level of the high-frequency band, the mid-frequency band signal with an intensity corresponding to the set level of the mid-frequency band, and the low-frequency band signal with an intensity corresponding to the set level of the low-frequency band, each at an amplification factor corresponding to the position of the fader control 331.

[0020] The tempo slider 34 shown in Figure 1 is an operator that adjusts the playback speed of a song by adjusting the BPM (Beats Per Minute) of the song loaded into the corresponding channel. The original BPM of the song refers to the tempo of the original song, i.e., the number of beats per minute of the original song, while the playback BPM refers to the tempo during song playback, i.e., the number of beats per minute during song playback. The tempo slider 34 on the first channel control unit 3A is the first tempo slider 34A, which adjusts the BPM during playback of the first song loaded on the first channel. The tempo slider 34 on the second channel control unit 3B is the second tempo slider 34B, which adjusts the BPM during playback of the second song loaded on the second channel. In this embodiment, the BPM of the first song is the adjusted playback BPM if the playback BPM of the first song is adjusted by the first tempo slider 34A, and the original BPM of the first song if the playback BPM of the first song is not adjusted by the first tempo slider 34A. Similarly, in this embodiment, the BPM of the second song is the adjusted playback BPM if the playback BPM of the second song is adjusted by the second tempo slider 34B, and the original BPM of the second song if the playback BPM of the second song is not adjusted by the second tempo slider 34B.

[0021] [Mode selector switch configuration] The mode selector switch 4 shown in Figure 1 is a switch for switching the operating mode of the sound control device 1. By pressing the mode selector switch 4, the operating mode of the sound control device 1 switches between normal mode and assist mode.

[0022] [Crossfader configuration] The crossfader 5 shown in Figure 1 has a fader control 51 that can move left and right, and is a control that adjusts the balance between the volume of the first track loaded into the first channel and the volume of the second track loaded into the second channel. As the fader control 51 is moved to the left, the proportion of the volume of the first track in the volume output from the sound control device 1 increases. As the fader control 51 is moved to the right, the proportion of the volume of the second track in the volume output from the sound control device 1 increases. Specifically, when the fader control 51 is positioned at the left end, the volume of the first track is set to maximum and the volume of the second track is set to minimum. When the fader control 51 is positioned at the right end, the volume of the first track is set to minimum and the volume of the second track is set to maximum. Hereinafter, of the two ends of the operable range RC of the fader operator 51, one end will be referred to as the first end TC1 and the other end as the second end TC2. In this embodiment, since the direction of movement of the fader operator 51 is left to right, the first end TC1 is the left end of the operable range RC, and the second end TC2 is the right end of the operable range RC.

[0023] [Configuration of the control unit] Figure 2 is a block diagram showing the configuration of the control unit 6. The control unit 6 is composed of a circuit board having at least one processor such as a CPU (Central Processing Unit), and reads and processes an audio control program stored in a computer-readable memory unit (not shown). In other words, the processor constituting the control unit 6 is a computer, and the control unit 6 controls the operation of the audio control device 1 based on the audio control program. Specifically, the control unit 6 plays the music loaded onto each channel and adjusts the mix state of the first and second music tracks based on operations on the crossfader 5 and channel faders 33A and 33B. As shown in Figure 2, such a control unit 6 includes a first playback unit 61, a second playback unit 62, a position acquisition unit 63, a mode switching unit 64, a volume adjustment unit 65, a BPM setting unit 66, an operation determination unit 67, a playback control unit 68, a position setting unit 69, and a position selection unit 70.

[0024] The first playback unit 61 plays the first song loaded into the first channel. Specifically, when the sound control device 1 is in normal mode, the first playback unit 61 plays the first song at the BPM of the first song as described above. When the sound control device 1 is in assist mode, the first playback unit 61 plays the first song at the BPM set by the BPM setting unit 66, which will be described later. The second playback unit 62 plays the second song loaded into the second channel. Specifically, when the sound control device 1 is in normal mode, the second playback unit 62 plays the second song at the BPM of the second song as described above. When the sound control device 1 is in assist mode, the second playback unit 62 plays the second song at the BPM set by the BPM setting unit 66, which will be described later.

[0025] The position acquisition unit 63 acquires the position of each control. For example, the position acquisition unit 63 acquires the position of the fader control 331 within the operable range of each channel fader 33, the position of each tempo slider 34 within its operable range, and the position of the fader control 51 within the operable range of the crossfader 5. More specifically, the position acquisition unit 63 acquires a numerical value indicating the position of the first operator 33A1, where 0 is defined as the position when it is located at the first end TA1 (described later) within the operable range of the first operator 33A1, and 1 is defined as the position when it is located at the second end TA2 (described later). Similarly, the position acquisition unit 63 acquires a numerical value indicating the position of the second operator 33B1, where 0 is defined as the position when it is located at the first end TB1 (described later) within the operable range of the second operator 33B1, and 1 is defined as the position when it is located at the second end TB2 (described later). Furthermore, the position acquisition unit 63 acquires a numerical value indicating the relative position of the fader operator 51 with respect to the first end TC1, where 0 is defined as the position when the fader operator 51 is located at the first end TC1 (described later) and 1 is defined as the position when it is located at the second end TC2 (described later).

[0026] The mode switching unit 64 switches the operating mode of the sound control device 1 between normal mode and assist mode in response to input operations on the mode switching switch 4. As will be described in more detail later, normal mode is a mode in which the sound control device 1 does not assist when mixing the first and second tracks. Assist mode is a mode in which the sound control device 1 assists in creating a seamless mix when mixing the first and second tracks.

[0027] [Functions of the volume control] The volume control unit 65 adjusts the volume of the first track output from the first channel and the volume of the second track output from the second channel, based on the positions of the fader operator 51 and each operator 33A1, 33B1 acquired by the position acquisition unit 63, and also adjusts the balance between the volumes of the first and second tracks. Specifically, the volume control unit 65 adjusts the balance between the volumes of the first and second tracks according to the position of the fader operator 51. In addition, the volume control unit 65 adjusts the volume of the first track according to the position of the first operator 33A1 of the first channel fader 33A, and adjusts the volume of the second track according to the position of the second operator 33B1 of the second channel fader 33B. The volume control for each track when operating the fader control 51, and the volume control for each track when operating the controls 33A1 and 33B1, will be described in detail later.

[0028] [Functions of the BPM setting section] The BPM setting unit 66 sets the playback BPM of the first song played by the first playback unit 61, as well as the playback BPM of the second song played by the second playback unit 62. Specifically, when the operating mode of the sound control device 1 is normal mode, the BPM setting unit 66 sets the playback BPM of the first song in response to the operation of the first tempo slider 34A, and also sets the playback BPM of the second song in response to the operation of the second tempo slider 34B. When the sound control device 1 is in assist mode, the BPM setting unit 66 sets the playback BPM of the first and second tracks according to the position of the fader operator 51. Also, when the sound control device 1 is in assist mode, the BPM setting unit 66 sets the playback BPM of the first track according to the position of the first operator 33A1, and sets the playback BPM of the second track according to the position of the second operator 33B1. As described above, the first playback unit 61 plays the first song at the playback BPM set by the BPM setting unit 66, and the second playback unit 62 plays the second song at the playback BPM set by the BPM setting unit 66.

[0029] [Processing when the crossfader is operated] Figure 4 shows the changes in the overall volume of the first track and the overall volume of the second track when the crossfader 5 is operated. In Figure 4, the horizontal axis of the graph is set to a numerical value that indicates the relative position of the fader operator 51 acquired by the position acquisition unit 63. The volume control unit 65 adjusts the balance between the overall volume of the first track and the overall volume of the second track based on the position of the fader operator 51 of the crossfader 5 within the operable range. The overall volume of the first track refers to the total volume of the high-frequency band, the mid-frequency band, and the low-frequency band of the first track. The maximum value of the overall volume of the first track is the first set volume V1st set by the first operator 33A1. The balance between the high-frequency band, mid-frequency band, and low-frequency band in the first track corresponds to the ratio of the set level H1lv of the high-frequency band, the set level M1lv of the mid-frequency band, and the set level L1lv of the low-frequency band. The same applies to the overall volume of the second track, and the maximum value of the overall volume of the second track is the second set volume V2st set by the second operator 33B1. The balance of the high-frequency, mid-frequency, and low-frequency bands in the second track corresponds to the ratio of the set level H2lv in the high-frequency band, the set level M2lv in the mid-frequency band, and the set level L2lv in the low-frequency band. Furthermore, the direction from the first end TC1 to the second end TC2 is defined as the +DC direction, and the direction from the second end TC2 to the first end TC1 is defined as the -DC direction.

[0030] When the fader operator 51 is located at the first end TC1, the volume control unit 65 sets the overall volume of the first song to the first pre-set volume V1st as described above, and the overall volume of the second song to the second minimum volume V2min, as shown in Figure 4. The volume control unit 65 decreases the overall volume of the first track and increases the overall volume of the second track as the fader operator 51 is operated from the first end TC1 in the +DC direction. In other words, the volume control unit 65 increases the overall volume of the first track and decreases the overall volume of the second track as the fader operator 51 is operated from the second end TC2 in the -DC direction. In other words, as the fader operator 51 is operated in the +DC direction, the proportion of the second track in the total volume output from the sound control device 1 increases. As the fader operator 51 is operated in the -DC direction, the proportion of the first track in the total volume output from the sound control device 1 increases.

[0031] When the fader operator 51 is located at the second end TC2, the volume control unit 65 sets the overall volume of the first track to the first minimum volume V1min and the overall volume of the second track to the second pre-set volume V2st described above. In this way, the overall volume of the first track and the overall volume of the second track are adjusted according to the position of the fader operator 51 within the operable range RC. When the fader operator 51 is operated from the first end TC1 to the second end TC2, the output track switches from the first track to the second track. When the fader operator 51 is operated from the second end TC2 to the first end TC1, the output track switches from the second track to the first track.

[0032] Here, we will explain the volume levels of each frequency band in each song when crossfader 5 is operated. As described above, the overall volume of a song is determined by amplifying a high-frequency signal of an intensity corresponding to a set level in the high-frequency band, a mid-frequency signal of an intensity corresponding to a set level in the mid-frequency band, and a low-frequency signal of an intensity corresponding to a set level in the low-frequency band, at an amplification factor corresponding to the position of the fader control 331. In other words, if the position of the fader control 331 is not changed, the overall volume of each song, and consequently the volume balance of each song, is adjusted by changing the volume level of each frequency band with the set level as the upper limit.

[0033] Figure 5 shows the changes in volume levels for each frequency band of the first track and the second track when the crossfader 5 is operated. More specifically, the first row from the top of Figure 5 shows the position of the fader control 51, and the second row shows the volume levels of the high-frequency bands of the first and second tracks, respectively. The third row from the top of Figure 5 shows the volume levels of the mid-frequency bands of each track, and the fourth row shows the volume levels of the low-frequency bands of each track. The horizontal axis of the graphs shown in the second, third, and fourth rows of Figure 5 is set to a value indicating the relative position of the fader control 51 as described above. In Figure 5, the set levels H1lv and H2lv are shown as having the same value, but they do not necessarily have to be the same value. The same applies to the set levels M1lv and M2lv, and the set levels L1lv and L2lv. As shown in Figure 5, the volume control unit 65 adjusts the overall volume of each song, as shown in Figure 4, by changing the volume level of each frequency band of each song according to the position of the fader operator 51.

[0034] Specifically, as shown in the first and second stages of Figure 5, the volume control unit 65 changes the volume level of the high-frequency band of the first track within a range of minimum level H1min or higher and set level H1lv or lower, depending on the position of the fader operator 51 within the operable range RC, and changes the volume level of the high-frequency band of the second track within a range of minimum level H2min or higher and set level H2lv or lower. In other words, as the fader operator 51 is operated from the first end TC1 in the +DC direction, the volume control unit 65 increases the volume level of the high-frequency band of the first track from minimum level H1min to set level H1lv as the upper limit, and decreases the volume level of the high-frequency band of the second track from set level H2lv to minimum level H2min as the lower limit.

[0035] Similarly, as shown in the third and fourth rows of Figure 5, the volume control unit 65 changes the volume level of the mid-frequency band of the first track within a range of minimum level M1min or higher and set level M1lv or lower, depending on the position of the fader operator 51 in the operable range RC, within a range of minimum level L1min or higher and set level L1lv or lower, within a range of minimum level M2min or higher and set level M2lv or lower, within a range of minimum level L2min or higher and set level L2lv or lower. In other words, as the fader operator 51 is operated from the first end TC1 in the +DC direction, the volume control unit 65 increases the volume level of the mid-frequency band of the first track from minimum level M1min to set level M1lv as the upper limit, and decreases the volume level of the mid-frequency band of the second track from set level M2lv to minimum level M2min as the lower limit. Furthermore, as the fader operator 51 is operated from the first end TC1 in the +DC direction, the volume control unit 65 increases the volume level of the low-frequency band of the first track from the minimum level L1min to the set level L1lv as the upper limit, and decreases the volume level of the low-frequency band of the second track from the set level L2lv to the minimum level L2min as the lower limit. In this way, the volume control unit 65 adjusts the volume level of each frequency band of each song between the minimum level and the set level according to the position of the fader operator 51, thereby adjusting the volume of the first song and the second song, and adjusting the volume balance of each song.

[0036] Figure 6 shows an example of the change in BPM during playback of the first and second tracks in assist mode. Specifically, Figure 6 shows the change in BPM during playback of the first and second tracks when the crossfader 5 is operated in assist mode, with the BPM of the first track being 100 and the BPM of the second track being 120. The horizontal axis of the graph shown in Figure 6 is set to a numerical value indicating the relative position of the fader operator 51 described above. When the sound control device 1 is in assist mode, the BPM setting unit 66 sets the playback BPM of each song according to the position of the fader operator 51, as shown in Figure 6. The following describes how the playback BPM is set by the BPM setting unit 66 in assist mode.

[0037] As the fader operator 51 is operated in the +DC direction from the first end TC1 to the second end TC2, the BPM setting unit 66 sets the playback BPM of each song so that it approaches the BPM of the second song from the BPM of the first song. Then, when the fader operator 51 is positioned at the second end TC2, the BPM setting unit 66 sets the playback BPM of each song to the BPM of the second song. In the example in Figure 6, the playback BPM of each song is set to 120. As the fader operator 51 is operated in the -DC direction from the second end TC2 towards the first end TC1, the BPM setting unit 66 sets the playback BPM of each song so that the BPM of the second song approaches the BPM of the first song. Then, when the fader operator 51 is positioned at the first end TC1, the BPM setting unit 66 sets the playback BPM of each song to the BPM of the first song. In the example in Figure 6, the playback BPM of each song is set to 100, which is the BPM of the first song.

[0038] If the fader operator 51 is positioned in the middle of the operable range RC, the BPM setting unit 66 sets the playback BPM of each song to an intermediate value between the BPM of the first song and the BPM of the second song. In the example shown in Figure 6, the rate of change in BPM during playback when the fader operator 51 is operated in the ±DC direction is constant, but it does not have to be constant. For example, this rate of change may change as the fader operator 51 is operated in the ±DC direction. In this way, by operating the fader control 51, it becomes easier to synchronize the playback BPM of each track being mixed. Therefore, each track can be mixed naturally without any sense of incongruity.

[0039] [Processing when channel faders are operated] Figure 7 shows the change in the overall volume of the first track when the first channel fader 33A is operated, and the change in the overall volume of the second track when the second channel fader 33B is operated. In Figure 7, the vertical axis of the graph on the left is set to a numerical value that indicates the relative position of each control unit 33A1, 33B1. As shown in Figure 7, the volume control unit 65 adjusts the overall volume of the first track based on the position of the first operator 33A1 of the first channel fader 33A, and adjusts the overall volume of the second track based on the position of the second operator 33B1 of the second channel fader 33B. That is, the volume control unit 65 sets the first set volume V1st, which is the overall volume of the first track, between the first minimum volume V1min and the first maximum volume V1max based on the position of the first operator 33A1. The volume control unit 65 sets the second set volume V2st, which is the overall volume of the second track, between the second minimum volume V2min and the second maximum volume V2max based on the position of the second operator 33B1. The first maximum volume V1max is the maximum volume of the first track that can be output from the sound control device 1, and the second maximum volume V2max is the maximum volume of the second track that can be output from the sound control device 1.

[0040] Hereinafter, of the two ends of the operable range RA of the first operator 33A1, one end will be designated as the first end TA1 and the other end as the second end TA2. The direction from the first end TA1 to the second end TA2 will be designated as the +DA direction, and the direction from the second end TA2 to the first end TA1 will be designated as the -DA direction. Furthermore, of the operable range RB of the second operator 33B1, one end will be designated as the first end TB1 and the other end as the second end TB2. The direction from the first end TB1 to the second end TB2 will be designated as the +DB direction, and the direction from the second end TB2 to the first end TB1 will be designated as the -DB direction. In this embodiment, since the +DA direction and the +DB direction are aligned upwards, the first ends TA1 and TB1 are the lower ends in the operable ranges RA and RB, and the second ends TA2 and TB2 are the upper ends in the operable ranges RA and RB.

[0041] Specifically, when the first operator 33A1 is positioned at the first end TA1, the volume control unit 65 sets the first set volume V1st to the first minimum volume V1min, as shown in Figure 7. As a result, the overall volume of the first song becomes the first minimum volume V1min.

[0042] When the first control 33A1 is operated, the volume control unit 65 changes the first set volume V1st. That is, when the first control 33A1 is operated in the +DA direction, the volume control unit 65 increases the first set volume V1st, and when the first control 33A1 is operated in the -DA direction, it decreases the first set volume V1st. In the example shown in Figure 7, the rate of change of the overall volume of the first song is constant, and the amount of movement of the first operator 33A1 is directly proportional to the change in the first set volume V1st and the change in the overall volume of the first song. However, this is not the only example; the rate of change of the first set volume V1st and the rate of change of the overall volume of the first song do not have to be constant, and may change, for example, as the first operator 33A1 is operated in the +DA direction or the -DA direction. When the first control element 33A1 is positioned at the second end TA2, the volume control unit 65 sets the first set volume V1st to the first maximum volume V1max. As a result, the overall volume of the first song becomes the first maximum volume V1max.

[0043] On the other hand, when the second operator 33B1 is positioned at the first end TB1, the volume control unit 65 sets the second set volume V2st to the second minimum volume V2min. As a result, the overall volume of the second song becomes the second minimum volume V2min. The volume control unit 65 changes the second set volume V2st when the second operator 33B1 is operated. That is, when the second operator 33B1 is operated in the +DB direction, the volume control unit 65 increases the second set volume V2st according to the position of the second operator 33B1, thereby increasing the overall volume of the second song. Conversely, when the second operator 33B1 is operated in the -DB direction, the volume control unit 65 decreases the second set volume according to the position of the second operator 33B1, thereby decreasing the overall volume of the second song. In this case, the rate of change of the second set volume V2st and the rate of change of the overall volume of the second song are constant in the example shown in Figure 7, but they do not have to be constant. For example, the rate of change of the second set volume V2st and the rate of change of the overall volume of the second song may each exist and may change as the second operator 33B1 is operated in the +DA direction or the -DA direction. When the second control 33B1 is positioned at the second end TB2, the volume control unit 65 sets the second set volume V2st to the second maximum volume V2max. As a result, the overall volume of the second song becomes the second maximum volume V2max. Therefore, for example, starting from a state where the first operator 33A1 is positioned at the second end TA2 and the second operator 33B1 is positioned at the first end TB1, the music output from the sound control device 1 can be switched from the first music to the second music by operating the first operator 33A1 in the -DA direction and the second operator 33B1 in the +DB direction.

[0044] Figure 8 shows an example of the change in BPM during playback of the first and second songs in assist mode. Specifically, Figure 8 illustrates the change in the BPM of the first song when the first operator 33A1 is operated in assist mode, and the change in the BPM of the second song when the second operator 33B1 is operated, when the BPM of the first song is 100 and the BPM of the second song is 120. When the sound control device 1 is in assist mode, the BPM setting unit 66 sets the playback BPM of the first song according to the position of the first operator 33A1, and sets the playback BPM of the second song according to the position of the second operator 33B1, as shown in Figure 8. More specifically, the BPM setting unit 66 sets the playback BPM of the first and second songs to the BPM corresponding to the result of dividing the numerical value indicating the position of the first operator 33A1 by the numerical value indicating the position of the second operator 33B1.

[0045] Here, the memory unit, which is not shown in the diagram, has pre-stored the graph shown in Figure 8. That is, the memory unit stores BPM change information that indicates the BPM corresponding to the numerical value of the division result. More specifically, the memory unit stores a function as BPM change information in which the BPM approaches that of the second song as the numerical value of the division result decreases, and approaches that of the first song as the numerical value of the division result increases. The function that the memory unit stores as BPM change information may be a linear function as shown in Figure 8, or it may be a higher-order function such as a quadratic function. Furthermore, the volume control unit 65 adjusts the overall volume of the first song based on the position of the first operator 33A1, and adjusts the overall volume of the second song based on the position of the second operator 33B1. For this reason, the storage unit (not shown) may store BPM change information that indicates the BPM corresponding to the numerical result of dividing the overall volume of the first song by the overall volume of the second song, instead of the BPM change information.

[0046] Based on this BPM change information, the BPM setting unit 66 obtains the BPM corresponding to the division result and sets the obtained BPM as the BPM for each song. Therefore, for example, if the first operator 33A1 is located at the first end TA1 and the second operator 33B1 is located at the second end TB2, the BPM setting unit 66 sets the playback BPM of the first and second songs to the BPM of the second song. In the example in Figure 8, the playback BPM of each song is set to 120, which is the BPM of the second song. On the other hand, if, for example, the first operator 33A1 is located at the second end TA2 and the second operator 33B1 is located at the first end TB1, the BPM setting unit 66 sets the playback BPM of the first song to the BPM of the first song for both the first and second songs. In the example shown in Figure 8, the playback BPM of each song is set to 100, which is the BPM of the first song.

[0047] As the first operator 33A1 is operated in the +DA direction, or as the second operator 33B1 is operated in the -DB direction, the BPM of each song approaches the BPM of the first song. Also, as the first operator 33A1 is operated in the -DA direction, or as the second operator 33B1 is operated in the +DB direction, the BPM of each song approaches the BPM of the second song.

[0048] [Configuration of the operation determination unit] The operation determination unit 67 shown in Figure 3 functions when the operating mode of the sound control device 1 is in assist mode. The operation determination unit 67 determines the operation of the fader operator 51. Specifically, the operation determination unit 67 determines whether the speed of the fader operator 51 when it reaches the other end from one end of the first end TC1 and the second end TC2 is equal to or greater than a predetermined value. In other words, the operation determination unit 67 determines whether the fader operator 51, which has been operated from one end of the first end TC1 and the second end TC2 toward the other end, has reached the other end within a predetermined time. The operation determination unit 67 determines whether an operation has been performed on the first operator 33A1 and the second operator 33B1. Specifically, the operation determination unit 67 determines whether, within a predetermined time after one of the operators, the first operator 33A1 located at the second end TA2 and the second operator 33B1 located at the first end TB1, has reached the first end TA1 and the second operator 33B1 located at the first end TB1 has reached the second end TB2. Furthermore, the operation determination unit 67 determines whether, within a predetermined time after one of the operators, the first operator 33A1 located at the first end TA1 and the second operator 33B1 located at the second end TB2, has reached the second end TA2, and whether the second operator 33B1 located at the second end TB2 has reached the first end TB1.

[0049] [Configuration of the playback control unit] The playback control unit 68 functions when the operating mode of the sound control device 1 is in assist mode. The playback control unit 68 controls the playback state of the first track by the first playback unit 61 and the playback state of the second track by the second playback unit 62 in response to the operation of the fader operator 51. Specifically, the playback control unit 68 controls the playback position of the first and second tracks based on the determination result from the operation determination unit 67.

[0050] If the playback control unit 68 determines that the speed of the fader operator 51 when it reaches from one end of the first end TC1 and the second end TC2 to the other end is greater than or equal to a predetermined value, it executes the following first playback control process. If it determines that the speed is less than the predetermined value, it executes the following second playback control process. In other words, if the playback control unit 68 determines that the fader operator 51, which has been operated from one end of the first end TC1 and the second end TC2 toward the other end, has not reached the other end within a predetermined time, it executes the following first playback control process. If it determines that the fader operator has reached the other end within a predetermined time, it executes the following second playback control process. In addition, in any playback control process, if the fader operator 51 is located at the first end TC1 or the second end TC2, the playback control unit 68 will not control the playback of the first song by the first playback unit 61 or the playback of the second song by the second playback unit 62.

[0051] [First Regeneration Control Process] The first playback control process is performed when the fader operator 51 is slowly operated from one end of the first end TC1 to the other end of the second end TC2. The following description will focus on the case where the fader operator 51 is operated from the first end TC1 to the second end TC2. When the fader operator 51 is operated in the +DC direction from the first end TC1, the playback control unit 68 moves the playback position of the first track to a predetermined first playback position and moves the playback position of the second track to a predetermined third playback position. If playback of the second track by the second playback unit 62 is stopped, the playback control unit 68 causes the second playback unit 62 to start playback of the second track. The first playback position corresponds to the first position in each track, and the third playback position corresponds to the second position in each track.

[0052] When the playback position of the first track moves to the first playback position, the playback control unit 68 loops playback between the first playback position and a predetermined second playback position which is a playback position later than the first playback position. Similarly, when the playback position of the second track moves to the third playback position, the playback control unit 68 loops playback between the third playback position and a predetermined fourth playback position which is a playback position later than the third playback position. In other words, the playback position of the second track that is moved when the fader operator 51 is operated in the +DC direction from the first end TC1 is the third playback position, which is a playback position earlier than the fourth playback position. The fourth playback position corresponds to the planned mixing position for each track. When the fader operator 51 reaches the second end TC2, the playback control unit 68 cancels the loop playback of the first song by the first playback unit 61 and cancels the loop playback of the second song by the second playback unit 62. This allows for switching from the first track to the second track, and also enables playback of the fourth playback position of the second track.

[0053] [Specific example of the first regeneration control process] Figure 9 illustrates an example of the first playback control process by the playback control unit 68. In Figure 9, "Breakdown" is written as "Break". Next, a specific example of the first regeneration control process will be explained with reference to Figure 9. In the example in Figure 9, both the first and second songs are composed of the following elements: Intro, Breakdown 1, Buildup 1, Drop 1, Breakdown 2, Buildup 2, Drop 2, and Outro. In the example in Figure 9, the first playback position (1st position) of the first song is set to the start of the outro, and the second playback position of the first song is set to the end of the outro, i.e., the end of the first song. In the example in Figure 9, the third playback position (2nd position) of the second song is set to a position in the middle of Buildup 1, and the fourth playback position (planned mix position) of the second song is set to the start of Drop 1. Note that the third playback position of the second song is at least one measure before, for example, the fourth playback position of the second song.

[0054] For example, as shown in the first row from the top of Figure 9, if the fader operator 51 is located at the first end TC1, the playback control unit 68 does not control the playback of the first track by the first playback unit 61 or the playback of the second track by the second playback unit 62. Therefore, the first track is played back by the first playback unit 61 at the BPM of the first track. As shown in the second row from the top of Figure 9, when the fader operator 51 is operated in the +DC direction from the first end TC1, the playback control unit 68 moves the playback position PP1 of the first song to the outro start position (first playback position) and moves the playback position PP2 of the second song to a position in the middle of the build-up 1 (third playback position). If the playback of the second song is stopped as described above, the playback control unit 68 causes the second playback unit 62 to start playback of the second song.

[0055] As shown in the third row from the top of Figure 9, when the playback position PP1 of the first song moves to the start position of the outro of the first song, the playback control unit 68 causes the first playback unit 61 to repeat playback of the song portion between the start position of the outro and the end position of the outro of the first song (second playback position). At the same time, when the playback position PP2 of the second song moves to a position in the middle of the build-up 1, the playback control unit 68 causes the second playback unit 62 to repeat playback of the song portion between the position in the middle of the build-up 1 and the start position of the drop 1 of the second song (fourth playback position).

[0056] As shown in the fourth row from the top of Figure 9, when the fader operator 51 is positioned at the second end TC2, the playback control unit 68 cancels the repeat playback of the first track and the second track. As a result, playback of the first track by the first playback unit 61 ends when the outro of the first track finishes playing, and playback of the second track by the second playback unit 62 continues, with drop 1 of the second track being played after a short time. As described above, when the fader operator 51 is positioned at the second end TC2, the volume control unit 65 sets the overall volume of the first track to the first minimum volume V1min, and the overall volume of the second track to the second set volume V2st. In addition, the BPM setting unit 66 sets the playback BPM of each track to the BPM of the second track.

[0057] The above describes the case where the fader operator 51 is operated from the first end TC1 to the second end TC2. The same applies when the fader operator 51 is operated from the second end TC2 to the first end TC1. In other words, when the fader operator 51 is operated from the second end TC2 in the -DC direction, the playback position PP2 is moved to the first playback position of the second song, and then the portion of the song between the first playback position and the second playback position of the second song is repeated. Similarly, when the playback position PP1 is moved to the third playback position of the first song, the portion of the song between the third playback position and the fourth playback position of the first song is repeated. When the fader operator 51 is placed at the first end TC1, the playback control unit 68 cancels the repeat playback of each song. In this way, by controlling the playback position of the first track and the playback position of the second track in response to operations from the first end TC1 and the second end TC2 of the fader control 51, a natural mix of the first and second tracks can be performed.

[0058] [Play music at the start of operation] In the first playback control process described above, the playback control unit 68 moved the playback position of the first song to the first playback position (first position) at the timing when the fader operator 51 located at the first end TC1 was moved in the +DC direction. However, if the playback position of the first song at the timing when the fader operator 51 located at the first end TC1 was moved in the +DC direction is not a measure division, the playback control unit 68 may play the song up to the next measure division before moving the playback position of the first song to the first playback position. Furthermore, for example, when the fader operator 51 located at the first end TC1 is moved in the +DC direction, the playback position of the second song is moved to the third playback position (second position). However, if the playback position of the second song at the time the fader operator 51 located at the first end TC1 is moved in the +DC direction is not a measure division, the playback control unit 68 may play the song up to the next measure division and then move the playback position of the second song to the third playback position. Similarly, if the fader operator 51 located at the second end TC2 is moved in the -DC direction, if the playback position of the first song is not a bar division, the playback position of the first song may be moved to the third playback position after playback has been extended to the next bar division. In this case, if the playback position of the second song is not a bar division, the playback position of the second song may be moved to the first playback position after playback has been extended to the next bar division.

[0059] [Playback of music upon reaching the end] In the first playback control process described above, the playback control unit 68 cancels the repeat playback of the portion of the second track between the third playback position and the fourth playback position when the fader operator 51, which has been operated in the +DC direction, reaches the second end TC2. That is, although the repeat playback of the second track is canceled, playback continues from the playback position when the fader operator 51 reaches the second end TC2. However, the playback control unit 68 may implement one of the following first and second patterns.

[0060] In the first pattern, when the fader operator 51 reaches the second end TC2, the playback position PP2 of the second track is moved to the fourth playback position. In the example in Figure 9, since drop 1 of the second track is played at the timing when the volume of the first track is at its minimum, the swap between the first and second tracks can be performed smoothly. In the second pattern, if the playback position PP2 of the second song has not reached a bar break when the fader operator 51 reaches the second end TC2, the playback position PP2 is moved to the fourth playback position when it reaches the next bar break. In the example in Figure 9, the playback position PP2 of the second song is moved to drop 1 when it reaches the next bar break, so that each song can be mixed naturally without causing abrupt changes in composition.

[0061] [Second Regeneration Control Process] The second playback control process is performed when the fader operator 51 is instantaneously operated from one end of the first end TC1 to the other end of the second end TC2. Specifically, the second playback control process moves the playback position of the second track to the fourth playback position of the second track when the fader operator 51 is instantaneously operated from the first end TC1 to the second end TC2, and moves the playback position of the first track to the fourth playback position of the first track when it is instantaneously operated from the second end TC2 to the first end TC1. In this case, the volume control unit 65 sets the overall volume of the first track to the first minimum volume V1min, so the first track is not output. When the second track shown in Figure 9 is played by the second playback unit 62, and the second playback control process is executed by the playback control unit 68, the playback position of the first track remains unchanged, while the playback position of the second track is moved to the start position of drop 1. If playback of the second track by the second playback unit 62 is stopped, the playback control unit 68 causes the second playback unit 62 to start playback of the second track. Furthermore, the volume control unit 65 described above ensures that when the fader operator 51 reaches the second end TC2, the overall volume of the first track is set to its minimum value, and the overall volume of the second track is set to its maximum value. Additionally, the BPM setting unit 66 sets the playback BPM of each track to the BPM of the second track. This second playback control process allows for instantaneous switching from the first song to the second song, for example, by instantly playing the chorus of the second song.

[0062] [Processing of the playback control unit when a channel fader is operated] The regeneration control unit 68 determines that the time from when one of the two operators, the first operator 33A1 located at the second end TA2 and the second operator 33B1 located at the first end TB1, is operated until the first operator 33A1 reaches the first end TA1 and the second operator 33B1 reaches the second end TB2 is greater than or equal to a predetermined time, and executes the following third regeneration control process if it determines that the time is less than the predetermined time, it executes the following fourth regeneration control process. In other words, the regeneration control unit 68 executes the following fourth regeneration control process if, within a predetermined time after one of the operators, the first operator 33A1 located at the second end TA2 and the second operator 33B1 located at the first end TB1, is operated, the first operator 33A1 reaches the first end TA1 and the second operator 33B1 reaches the second end TB2. If, within the predetermined time, the first operator 33A1 does not reach the first end TA1, or the second operator 33B1 does not reach the second end TB2, the following third regeneration control process is executed.

[0063] [Specific example of the third regeneration control process] Figure 10 illustrates an example of the third playback control process by the playback control unit 68. In Figure 10, "Breakdown" is written as "Break". A specific example of the third regeneration control process will be explained below with reference to Figure 10. In the example in Figure 10, the first and second tracks are the same as in the example in Figure 9. Also, in the example in Figure 10, the first playback position (position 1) of the first track, the second playback position of the first track, the third playback position (position 2) of the second track, and the fourth playback position (planned mix position) of the second track are the same as in the example in Figure 9.

[0064] For example, as shown in the first row from the top of Figure 10, if the first operator 33A1 is positioned at the second end TA2 and the second operator 33B1 is positioned at the first end TB1, the playback control unit 68 will not control the playback of the first song by the first playback unit 61 and the playback of the second song by the second playback unit 62. In other words, if the operators 33A1 and 33B1 are positioned at the point where the volume of the first song is at its maximum and the volume of the second song is at its minimum, the playback control unit 68 will not control the playback of the first song by the first playback unit 61 and the playback of the second song by the second playback unit 62.

[0065] As shown in the second row from the top of Figure 10, when at least one of the following operations is performed: the operation of the first operator 33A1 from the second end TA2 in the -DA direction, and the operation of the second operator 33B1 from the first end TB1 in the +DB direction, the playback control unit 68 moves the playback position PP1 of the first song to the outro start position (first playback position), and moves the playback position PP2 of the second song to a position in the middle of build-up 1 (third playback position). At this time, if playback of the second song is stopped, the playback control unit 68 causes the second playback unit 62 to start playback of the second song.

[0066] As shown in the third row from the top of Figure 10, when the playback position PP1 of the first song moves to the start position of the outro of the first song, the playback control unit 68 causes the first playback unit 61 to repeat playback of the song portion between the start position of the outro of the first song and the end position of the outro (second playback position). At the same time, when the playback position PP2 of the second song moves to a position in the middle of the build-up 1, the playback control unit 68 causes the second playback unit 62 to repeat playback of the song portion between a position in the middle of the build-up 1 of the second song (third playback position) and the start position of drop 1 (fourth playback position).

[0067] As shown in the fourth row from the top of Figure 10, when the first operator 33A1, operated in the -DA direction, reaches the first end TA1, and the second operator 33B1, operated in the +DB direction, reaches the second end TB2, the playback control unit 68 cancels the repeat playback of the first track and the repeat playback of the second track. As a result, playback of the first track by the first playback unit 61 ends when the outro of the first track finishes playing, and playback of the second track by the second playback unit 62 continues, with the drop 1 (planned mix position) of the second track being played after a short time. When each operator 33A1 and 33B1 is operated in this manner, the volume control unit 65 sets the overall volume of the first track to the minimum value and the overall volume of the second track to the maximum value. In addition, the BPM setting unit 66 sets the playback BPM of each track to the BPM of the second track.

[0068] The above describes the case where the first operator 33A1 is operated from the second end TA2 to the first end TA1, and the second operator 33B1 is operated from the first end TB1 to the second end TB2. The same applies when the first operator 33A1 is operated from the first end TA1 to the second end TA2, and the second operator 33B1 is operated from the second end TB2 to the first end TB1. Specifically, when at least one of the following operations is performed: the operation of the first operator 33A1 from the first end TA1 in the +DA direction, and the operation of the second operator 33B1 from the second end TB2 in the -DB direction, the playback position PP2 of the second song is moved to the first playback position of the second song, and then the portion of the song between the first playback position and the second playback position of the second song is repeated. At the same time, when the playback position PP1 of the first song is moved to the third playback position of the first song, the portion of the song between the third playback position and the fourth playback position of the first song is repeated. Then, when the first operator 33A1 reaches the second end TA2 and the second operator 33B1 reaches the first end TB1, the playback control unit 68 cancels the repeat playback of each song.

[0069] In this way, by controlling the playback position of the first track and the second track according to the operation of each control unit 33A1 and 33B1, a natural mix of the first and second tracks can be performed. The playback position movement pattern for each song is the same as the playback position movement pattern when the fader operator 51 is operated. That is, for example, if the playback position of a song is not at a bar division when at least one of the first operator 33A1 and the second operator 33B1 is operated from the edge of its operable range, the playback position of the song may be moved to the first playback position after playback has been played up to the next bar division. For example, if, at the moment when the volume of one of the first and second tracks reaches its minimum value and the volume of the other track reaches its maximum value, the playback position of the other track is not at a measure division, the playback position of the other track may be moved to the fourth playback position (planned mix position) after playback has reached the next measure division.

[0070] [Specific example of the fourth regeneration control process] The fourth regeneration control process is performed when the first operator 33A1 is instantaneously operated from the first end TA1 to the second end TA2 and the second operator 33B1 is instantaneously operated from the second end TB2 to the first end TB1, or when the first operator 33A1 is instantaneously operated from the second end TA2 to the first end TA1 and the second operator 33B1 is instantaneously operated from the first end TB1 to the second end TB2.

[0071] When the first operator 33A1 is instantaneously operated from the first end TA1 to the second end TA2, and almost simultaneously when the second operator 33B1 is instantaneously operated from the second end TB2 to the first end TB1, the playback control unit 68 performs a fourth playback control process, moving the playback position of the first song to the fourth playback position (planned mix position) of the first song. At this time, the volume control unit 65 sets the volume of the first song to its maximum value and the volume of the second song to its minimum value, and the BPM setting unit 66 sets the playback BPM of each song to the BPM of the first song. On the other hand, if the first operator 33A1 is instantaneously operated from the second end TA2 to the first end TA1, and almost simultaneously, the second operator 33B1 is instantaneously operated from the first end TB1 to the second end TB2, the playback control unit 68 performs a fourth playback control process, moving the playback position of the second song to the fourth playback position (planned mix position) of the second song. At this time, the volume control unit 65 sets the volume of the first song to its minimum value and the volume of the second song to its maximum value, and the BPM setting unit 66 sets the playback BPM of each song to the BPM of the second song. This fourth playback control process allows for instantaneous switching from the first song to the second song, for example, by instantly playing the chorus of the switched song.

[0072] [Configuration of the position setting unit and position selection unit] The position setting unit 69 shown in Figure 3 sets points that can be set to the first, second, third, and fourth playback positions for each song according to the user's operation. For example, a cue can be one such point. Another example is the start position of each component included in the song. The components are, as mentioned above, components such as the intro, drop, and outro. The position selection unit 70 functions when the operating mode of the sound control device is in assist mode. The position selection unit 70 selects the first, second, third, and fourth playback positions for each song from points set by the position setting unit 69, according to the user's operation. Each playback position selected by the position selection unit 70 is used in the first to fourth playback control processing by the playback control unit 68 described above. With the position setting unit 69 and position selection unit 70, the user can set and select each playback position at any position they wish.

[0073] [Effects of the First Embodiment] The sound control device 1 according to this embodiment, as described above, provides the following effects. The sound control device 1 mixes the first and second musical pieces. The sound control device 1 includes a playback control unit 68. The playback control unit 68 moves the playback position of the first track to the first playback position and moves the playback position of the second track to the third playback position, which is earlier than the fourth playback position, in response to the operation of the fader controls 51 or the controls 33A1 and 33B1 that adjust the volume of the first track and the second track. In other words, the crossfader 5, which has a fader control 51, corresponds to a control for adjusting the volume of the first track and the volume of the second track. Also, the first channel fader 33A, which has a first control 33A1, and the second channel fader 33B, which has a second control 33B1, correspond to controls for adjusting the volume of the first track and the volume of the second track. The first playback position corresponds to the first position in the first track. The third playback position corresponds to the second position, which is before the planned mix position, and the fourth playback position corresponds to a predetermined planned mix position with the first track.

[0074] With this configuration, for example, when the fader operator 51 or operators 33A1, 33B1 are operated so that the overall volume of the first track decreases and the overall volume of the second track increases, the playback position of each track is moved as described above. This allows the output track to be swapped from the first track to the second track, and the planned mixing position of the second track can be played back quickly. Therefore, mixing from the first track to the second track can be performed smoothly without any sense of incongruity, and the second track can be played back quickly from a preferred playback position where it replaces the first track.

[0075] The playback control unit 68 loops playback of the range from the first playback position to the second playback position (later than the first playback position) in the first track, and loops playback of the range from the third playback position to the fourth playback position in the second track, while the fader operator 51 is operated from the first end TC1 in the +DC direction until it reaches the second end TC2. Furthermore, the playback control unit 68 loops playback of the range from the first playback position to the second playback position in the first track, and loops playback of the range from the third playback position to the fourth playback position in the second track, while the first operator 33A1 is operated from the second end TA2 in the -DA direction until it reaches the first end TA1, and the second operator 33B1 is operated from the first end TB1 in the +DB direction until it reaches the second end TB2. In other words, until the fader operator 51 is operated and the overall volume of the first track becomes the first minimum volume V1min and the overall volume of the second track becomes the second set volume V2st, or until each operator 33A1, 33B1 is operated and the overall volume of the first track becomes the first minimum volume V1min and the overall volume of the second track becomes the second set volume V2st, the playback control unit 68 loops playback from the first playback position to the second playback position in the first track, and loops playback from the third playback position to the fourth playback position in the second track. Note that the second playback position corresponds to the third position. When the overall volume of the first song becomes the first minimum volume V1min, it is equivalent to the overall volume of the first song being at its minimum. The second set volume V2st is the maximum value of the overall volume of the second song set by the second operator 33B1.

[0076] With this configuration, for example, when switching from the first track to the second track by operating the fader control 51 or controls 33A1, 33B1, each track can be looped until the overall volume of the first track reaches the first minimum volume V1min and the overall volume of the second track reaches the second set volume V2st. In other words, each track can be looped until the switch from the first track to the second track is complete. This allows for a smooth switch from the first track to the second track regardless of the movement speed of the fader control 51 and the movement speed of each control 33A1, 33B1.

[0077] The second playback position, which is the third position, is, for example, the end position of each song. That is, the second playback position of the first song is, for example, the end position of the first song. With this configuration, for example, when switching from the first track to the second track, the section from the first playback position to the end position of the first track is looped until the switch from the first track to the second track begins. This allows for a smooth transition from the first track to the second track, even if the time between the two tracks is long.

[0078] The playback control unit 68 moves the fader operator 51 to the second end TC2 and, at the timing when the fader operator 51 is set to the first minimum volume V1min for the entire first track, it cancels loop playback of the second track. The playback control unit 68 also cancels loop playback of the second track when the first operator 33A1 is moved to the first end TA1 and the second operator 33B1 is moved to the second end TB2. With this configuration, the loop playback of the second track is canceled at the moment the first track is replaced by the second track, allowing the second track, which has replaced the first track, to play and output smoothly.

[0079] The playback control unit 68 moves the playback position of the second track to the fourth playback position (planned mix position) when the fader operator 51 is moved to the second end TC2 and the fader operator 51 is set to the first minimum volume V1min for the entire first track. The playback control unit 68 also moves the playback position of the second track to the fourth playback position (planned mix position) when the first operator 33A1 is moved to the first end TA1 and the second operator 33B1 is moved to the second end TB2. With this configuration, the second track can be played from its planned mixing position at the moment the first track switches to the second track. Therefore, the transition from the first track to the second track can be smooth and seamless.

[0080] If the playback control unit 68 moves the fader operator 51 to the second end TC2 and performs an operation on the fader operator 51 to set the volume of the entire first track to the first minimum volume V1min, and the playback position of the second track is not at a bar division position at that time, it plays the track up to the next bar division position and then moves the playback position of the second track to the fourth playback position (scheduled mix position). Also, if the playback control unit 68 moves the first operator 33A1 to the first end TA1 and the second operator 33B1 to the second end TB2, and the playback position of the second track is not at a bar division position at that time, it plays the track up to the next bar division position and then moves the playback position of the second track to the fourth playback position. This configuration prevents the sudden shift in the playback position of the second track when transitioning slowly from the first track to the second track, thus avoiding any jarring rhythmic inconsistencies. Consequently, the transition from the first to the second track can be smooth and seamless.

[0081] The playback control unit 68 moves the playback positions of the first and second tracks when an operation is performed on the fader operator 51 to increase the overall volume of the second track from a state where the overall volume of the first track is at the first set volume V1st and the overall volume of the second track is at the second minimum volume V2min. Specifically, the playback control unit 68 moves the playback positions of the first and second tracks when an operation is performed to move the fader operator 51 from the first end TC1 in the +DC direction. In addition, the playback control unit 68 moves the playback positions of the first and second tracks when the first operator 33A1 is operated in the -DA direction or the second operator 33B1 is operated in the +DB direction from a state where the first operator 33A1 is positioned at the second end TA2 and the second operator 33B1 is positioned at the first end TB1. The first set volume V1st is the maximum volume of the entire first song set by the first operator 33A1. With this configuration, the playback control unit 68 can move the playback position of the first track and the playback position of the second track, triggered by an operation on the fader operator 51 or operators 33A1, 33B1 when switching from the first track to the second track.

[0082] If the playback position of the first track is not at a bar division at the time an operation is performed on the operator to increase the overall volume of the second track from the position of the operator when the overall volume of the second track is at the second minimum volume V2min, the playback control unit 68 will play the first track to the next bar division and then move the playback position of the first track to the first position. Specifically, if the playback position of the first track is not at a bar division at the time an operation is performed to move the fader operator 51 from the first end TC1 in the +DC direction, the playback control unit 68 will play the first track to the next bar division and then move the playback position of the first track to the first position. Also, if the playback position of the first track is not at a bar division at the time an operation is performed to move the first operator 33A1 from the second end TA2 in the -DA direction, or the second operator 33B1 from the first end TB1 in the +DB direction, the playback control unit 68 will play the first track to the next bar division and then move the playback position of the first track to the first position. This configuration prevents the rhythm of the first track from being disrupted when the playback position of the first track is moved abruptly. Therefore, the transition from the first track to the second track can be smooth and seamless.

[0083] The first playback position of the first song is the first position of the first song. For example, the first playback position of the first song is the start position of the outro in the first song. With this configuration, when switching from the first track to the second track, the playback position of the first track is moved to the start of the outro in response to the operation of the fader control 51 or controls 33A1 and 33B1. Therefore, the playback position of the first track can be quickly moved to the end of the first track. Consequently, the switch from the first track to the second track can be performed smoothly.

[0084] The fourth playback position of the second track is the planned mixing position of the second track. For example, the fourth playback position of the second track is the start position of either the drop or the chorus in the second track. With this configuration, when switching from the first song to the second song, characteristic drops or choruses in the second song can be played quickly. Therefore, for example, the music playing in a venue can be switched from the first song to the second song without the mood of the venue where the sound control device 1 is installed being diminished.

[0085] The third playback position of the second track is the second position of the second track. The third playback position of the second track is, for example, at least one measure before the fourth playback position, which is the planned mixing position in the second track. With this configuration, depending on the speed of operation on the fader control 51 or controls 33A1 and 33B1, it is possible that the playback position of the second track may pass the planned mix position immediately after the first track has completely switched to the second track. In this case, the mood in the venue where the sound control device is installed may deteriorate. In contrast, by having the second position at least one measure before the planned mix position, it is possible to prevent the playback position of the second track from passing the planned mix position immediately after the complete switch from the first track to the second track. Therefore, the switch from the first track to the second track can be performed smoothly.

[0086] The sound control device 1 includes a BPM setting unit 66. When the volume of the entire first track is set to a first set volume V1st and the volume of the entire second track is set to a second minimum volume V2min, the BPM setting unit 66 adjusts the playback BPM of the first track and the playback BPM of the second track from the BPM of the first track to the BPM of the second track when an operation is performed on the operator to decrease the volume of the entire first track and increase the volume of the entire second track. Specifically, when the fader operator 51 is operated from the first end TC1 in the +DC direction, the BPM setting unit 66 adjusts the playback BPM of the first track and the playback BPM of the second track from the BPM of the first track to the BPM of the second track. Furthermore, when at least one of the following operations is performed, the BPM setting unit 66 adjusts the playback BPM of the first song and the playback BPM of the second song, from the BPM of the first song to the BPM of the second song, when the first operator 33A1 is operated from the second end TA2 in the -DA direction and the second operator 33B1 is operated from the first end TB1 in the +DB direction. With this configuration, as the proportion of the second track in the total volume output from the sound control device 1 increases compared to the first track, the playback BPM of each track approaches the BPM of the second track from the BPM of the first track. Therefore, the BPM of each track can be adjusted according to the volume balance between the first and second tracks. In other words, each track is played at a BPM close to that of the track that accounts for a larger proportion of the total output volume, thus reducing the sense of incongruity when mixing the first and second tracks, which have different BPMs. Consequently, the transition from the first track to the second track can be seamless.

[0087] As described above, the control that moves the playback position of each song is a crossfader 5 having a fader control 51 that adjusts the balance between the volume of the first song and the volume of the second song. In other words, the playback control unit 68 moves the playback position of each song in response to operations on the crossfader 5 having a fader control 51 that adjusts the balance between the volume of the first song and the volume of the second song. With this configuration, the first and second tracks can be mixed seamlessly by operating the fader control 51. Therefore, mixing the first and second tracks is easier compared to operating the first control 33A1 for adjusting the volume of the first track and the second control 33B1 for adjusting the volume of the second track.

[0088] The sound control program executed by the arithmetic processing unit, which is a computer constituting the control unit 6, is recorded in a computer-readable format, causing the computer to function as the sound control device 1. The above-described effects can be achieved by the arithmetic processing unit of the sound control device 1 executing such an acoustic control program.

[0089] [Second Embodiment] Next, a second embodiment of the present invention will be described. The sound control device according to this embodiment has the same configuration as the sound control device 1 according to the first embodiment, but the operation of the volume control unit and the BPM setting unit when the operating mode is assist mode are different. In the following description, parts that are the same or substantially the same as those already described are denoted by the same reference numerals and their description is omitted.

[0090] Figure 11 is a block diagram showing the configuration of the control unit 6A included in the sound control device according to this embodiment. The sound control device according to this embodiment has the same configuration and functions as the sound control device 1 according to the first embodiment, except that it includes a control unit 6A shown in Figure 11 instead of the control unit 6 according to the first embodiment. The control unit 6A, like the control unit 6, controls the acoustic control device according to this embodiment, and is configured to include at least one processor, such as a CPU (Central Processing Unit), which reads and executes an acoustic control program stored in a memory unit (not shown). In other words, the processor is a computer. The control unit 6A has the same configuration as the control unit 6, except that it includes a volume control unit 65A in place of the volume control unit 65 according to the first embodiment. That is, the control unit 6A includes a first playback unit 61, a second playback unit 62, a position acquisition unit 63, a mode switching unit 64, a volume control unit 65A, a BPM setting unit 66, an operation determination unit 67, a playback control unit 68, a position setting unit 69, and a position selection unit 70.

[0091] [Configuration of the volume control section] When the operating mode of the sound control device is normal mode, the volume control unit 65A functions in the same way as the volume control unit 65 according to the first embodiment. When the operating mode of the sound control device is in assist mode, the volume control unit 65A differs from the volume control unit 65 according to the first embodiment in that it individually adjusts the volume of the high-frequency band and the medium-frequency band of the first song, as well as the volume of the low-frequency band of the first song, and also individually adjusts the volume of the high-frequency band and the medium-frequency band of the second song, as well as the volume of the low-frequency band of the second song. More specifically, the volume control unit 65A individually adjusts the volume of each frequency band of the first song by individually adjusting the volume levels of the high-frequency band and the medium-frequency band of the first song, as well as the volume level of the low-frequency band of the first song. The volume control unit 65A individually adjusts the volume of each frequency band of the second song by individually adjusting the volume levels of the high-frequency band and the medium-frequency band of the second song, as well as the volume level of the low-frequency band of the second song.

[0092] [Volume adjustment when operating the crossfader in assist mode] Figure 12 shows the changes in volume levels for each frequency band of the first track and the changes in volume levels for each frequency band of the second track when the crossfader 5 is operated in assist mode. The horizontal axis of the graph in Figure 12 is set to a numerical value that indicates the relative position of the fader control 51 described above. In Figure 12, the set levels H1lv and H2lv are shown as having the same value, but the set levels H1lv and H2lv do not necessarily have to be the same value. The same applies to the set levels M1lv and M2lv, and the set levels L1lv and L2lv. In assist mode, the operable range RC of the fader operator 51 includes a first range RC1, a second range RC2, and a third range RC3, as shown in Figure 12. The first range RC1 is the range between the first position PC1 and the second position PC2. The second position PC2 is set in the +DC direction relative to the first position PC1. The second range RC2 is the range between the second position PC2 and the third position PC3. The third position PC3 is set in the +DC direction relative to the second position PC2. The third range RC3 is the range between the third position PC3 and the fourth position PC4. The fourth position PC4 is set in the +DC direction relative to the third position PC3. In this embodiment, the first position PC1 is set at the first end TC1, and the fourth position PC4 is set at the second end TC2. The first range RC1 is 1 / 3 of the operable range RC from the first end TC1, the second range RC2 is 1 / 3 of the operable range RC from the second position PC2, and the third range RC3 is 1 / 3 of the operable range RC from the third position PC3.

[0093] When the operating mode is assist mode and the fader operator 51 is located at the first end TC1, the volume control unit 65A sets the volume levels of each wavelength band of the first track to the pre-set levels H1lv, M1lv, L1lv for each frequency band of the first track, as shown in Figure 12, and sets the volume levels of each wavelength band of the second track to the minimum levels H2min, M2min, L2min for each frequency band of the second track. As a result, the overall volume of the first track becomes the first pre-set volume V1st, and the overall volume of the second track becomes the second minimum volume V2min.

[0094] When the operating mode is assist mode and the fader operator 51 is positioned in the first range RC1, the volume control unit 65A sets the volume levels of each wavelength band of the first track to the set levels H1lv, M1lv, and L1lv, and while keeping the volume level of the low frequency band of the second track at the minimum level L2min, it increases the volume levels of the high frequency band and the mid-frequency band of the second track as the fader operator 51 is operated in the +DC direction. In other words, the volume levels that change in the first range RC1 are the volume levels of the high frequency band and the mid-frequency band of the second track. In the first range RC1, the volume level of the high-frequency band of the second track varies within a range from the minimum level H2min of the high-frequency band of the second track to the set level H2lv. In the first range RC1, the volume level of the mid-frequency band of the second song varies within a range from the minimum level M2min of the mid-frequency band of the second song to the set level M2lv.

[0095] When the fader operator 51 is positioned at the second position PC2, the volume control unit 65A sets the volume levels of each frequency band of the first song to the pre-set levels H1lv, M1lv, and L1lv, while keeping the volume level of the low-frequency band of the second song at the minimum level L2min, setting the volume level of the high-frequency band of the second song to the pre-set level H2lv, and setting the volume level of the mid-frequency band of the second song to the pre-set level M2lv.

[0096] When the operating mode is assist mode and the fader control 51 is positioned in the second range RC2, the volume control unit 65A maintains the volume level of the high-frequency band of the first track at the set level H1lv, the volume level of the mid-frequency band of the first track at the set level M1lv, the volume level of the high-frequency band of the second track at the set level H2lv, and the volume level of the mid-frequency band of the second track at the set level M2lv, and as the fader control 51 is operated in the +DC direction, it lowers the volume level of the low-frequency band of the first track from the set level L1lv and increases the volume level of the low-frequency band of the second track from the minimum level L2min. In other words, the volume levels that change in the second range RC2 are the volume levels of the low-frequency band of the first track and the volume levels of the low-frequency band of the second track. In the second range RC2, the volume level of the low-frequency band of the first song varies within a range from the minimum level L1min of the low-frequency band of the first song to the set level L1lv. In the second range RC2, the volume level of the low-frequency band of the second track varies within a range from the minimum level L2min of the low-frequency band of the second track to the set level L2lv.

[0097] If the pre-set low-frequency band level L1lv of the first track and the pre-set low-frequency band level L2lv of the second track are the same, and the minimum low-frequency band level L1min of the first track and the minimum low-frequency band level L2min of the second track are the same, then when the fader operator 51 is positioned in the center of the second range RC2, the volume control unit 65A will match the volume level of the low-frequency band of the first track with the volume level of the low-frequency band of the second track. Therefore, depending on whether the fader operator 51 is operated in the +DC direction or the -DC direction relative to the center position of the second range RC2, the relative magnitudes of the low-frequency volume levels of the first track and the second track are swapped, and consequently, the relative magnitudes of the low-frequency volumes of each track are swapped. That is, when the fader operator 51 is operated in the +DC direction relative to the center position of the second range RC2, the volume of the low-frequency volume of the second track becomes greater than the volume of the low-frequency volume of the first track. On the other hand, when the fader operator 51 is operated in the -DC direction relative to the center position of the second range RC2, the volume of the low-frequency volume of the first track becomes greater than the volume of the low-frequency volume of the second track. Note that the central position in the second range RC2 coincides with the central position in the operable range RC.

[0098] In this embodiment, the rate of change of the volume level in the low-frequency band of the first track and the rate of change of the volume level in the low-frequency band of the second track are constant in the second range RC2. Therefore, when the fader operator 51 is operated in the +DC direction from the second position PC2, the volume level in the low-frequency band of the first track decreases at a constant rate, and the volume level in the low-frequency band of the second track increases at a constant rate. Also, when the fader operator 51 is operated in the -DC direction from the third position PC3, the volume level in the low-frequency band of the first track increases at a constant rate, and the volume level in the low-frequency band of the second track decreases at a constant rate. However, the rate of change in the volume level of the low-frequency band of the first song and the second song in the second range RC2 do not have to be constant. For example, when the fader operator 51 is operated in the +DC direction in the second range RC2, the volume level of the low-frequency band of the first song may decrease in a predetermined curve, and the volume level of the low-frequency band of the second song may increase in a predetermined curve. In other words, the rate of change in the volume level of the low-frequency band of each song may change according to the operation of the fader operator 51.

[0099] When the fader operator 51 is positioned at the third position PC3, the volume control unit 65A sets the volume level of the high-frequency band of the first track to the set level H1lv, the volume level of the mid-frequency band of the first track to the set level M1lv, the volume level of the high-frequency band of the second track to the set level H2lv, and the volume level of the mid-frequency band of the second track to the set level M2lv, while setting the volume level of the low-frequency band of the first track to the minimum level L1min, and the volume level of the low-frequency band of the second track to the set level L2lv.

[0100] When the operating mode is assist mode and the fader control 51 is positioned in the third range RC3, the volume control unit 65A sets the volume level of the low-frequency band of the first track to the minimum level L1min, and while keeping the volume levels of the high-frequency band, medium-frequency band, and low-frequency band of the second track at the set levels H2lv, M2lv, and L2lv respectively, as the fader control 51 is operated in the +DC direction, it lowers the volume level of the high-frequency band of the first track from the set level H1lv and the volume level of the medium-frequency band of the first track from the set level M1lv. In other words, the volume levels that change in the third range RC3 are the volume levels of the high-frequency band and the medium-frequency band of the first track. In the third range RC3, the volume level of the high-frequency band of the first song varies within a range from the minimum level H1min of the high-frequency band of the first song to the set level H1lv. In the third range RC3, the volume level of the mid-frequency band of the first song varies within a range from the minimum level M1min of the mid-frequency band of the first song to the set level M1lv.

[0101] When the fader control 51 is positioned at the fourth position PC4, that is, when the fader control 51 is positioned at the second end TC2, the volume control unit 65A sets the volume levels of the high-frequency, mid-frequency, and low-frequency bands of the first track to the minimum levels H1min, M1min, and L1min, respectively, and the volume levels of the high-frequency, mid-frequency, and low-frequency bands of the second track to the set levels H2lv, M2lv, and L2lv, respectively. As a result, the overall volume of the first track becomes the first minimum volume V1min, and the overall volume of the second track becomes the second set volume V2st, completing the mixing from the first track to the second track.

[0102] [Minimum level setting] In the above explanation, the minimum levels H1min, M1min, L1min, H2min, M2min, and L2min for each wavelength band were conveniently set to 0. However, this is not the only option; at least one of the minimum levels H1min, M1min, L1min, H2min, M2min, and L2min does not have to be 0. For example, the minimum levels H1min, M1min, L1min, H2min, M2min, L2min may be set according to the values ​​of the pre-configured levels H1lv, M1lv, L1lv, H2lv, M2lv, L2lv. In a more detailed example, if the set high-frequency band level H1lv of the first song is 0 or greater and 0.5 or less, the minimum level H1min may be set to 0. If the set level H1lv is greater than 0.5 and 1 or less, the minimum level H1min may be set to the set level H1lv minus 0.5. Similarly, if the set levels M1lv, L1lv, H2lv, M2lv, L2lv are 0 or greater and less than 0.5, the minimum levels M1min, L1min, H2min, M2min, L2min are set accordingly.

[0103] Figure 13 shows the changes in volume levels for each frequency band of the first song and the second song when the set low-frequency band level L1lv of the first song is 0.6 and the set low-frequency band level L2lv of the second song is 0.5. For example, if the low-frequency band adjustment unit 324 sets the set level L1lv of the low-frequency band of the first song to 0.6, the minimum level of the low-frequency band of the first song may be set to 0.1, as shown in Figure 13. Even in such cases, the volume of the first track and the volume of the second track can be swapped by operating the fader control 51. In particular, by operating the fader control 51 in the second range RC2, the volume of the low-frequency band of the first track and the volume of the low-frequency band of the second track can be swapped, regardless of the volume of the high-frequency and mid-frequency bands of each track. Note that the difference between the set level and the minimum level is not limited to 0.5 and can be changed as needed.

[0104] Figure 14 shows another example of the change in BPM during playback of the first and second tracks in assist mode. Specifically, Figure 14 shows another example of the change in BPM during playback of each track when the crossfader 5 is operated in assist mode, with the BPM of the first track being 100 and the BPM of the second track being 120. The horizontal axis of the graph shown in Figure 14 is set to a numerical value indicating the relative position of the fader operator 51 described above. As described in the first embodiment, the BPM setting unit 66 changes the playback BPM of each song in the same way across the entire range of the operable range RC in response to the operation of the fader operator 51. However, it is not limited to this, and for example, as shown in Figure 14, the BPM setting unit 66 may adjust the playback BPM of the first song and the second song, respectively, according to the position of the fader operator 51 when the fader operator 51 is positioned in the first range RC1 and the third range RC3.

[0105] In this case, if the fader operator 51 is located at the first end TC1 (first position PC1), the BPM setting unit 66 sets the playback BPM of the first song to that of the second song. In the example in Figure 14, the playback BPM of each song is set to 100, which is the BPM of the first song. When the fader operator 51 is positioned in the first range RC1, the BPM setting unit 66 sets the playback BPM of each song according to the position of the fader operator 51, within a range between the BPM of the first song and the midpoint between the BPM of the first song and the BPM of the second song. In the example in Figure 14, the BPM of the first song is 100, and the midpoint between the BPM of the first song and the BPM of the second song is 110. Therefore, when the fader operator 51 is positioned in the first range RC1, the playback BPM of each song is set to a value greater than 100 and less than 110.

[0106] When the fader control 51 is positioned at the second position PC2, the second range RC2, and the third position PC3, the BPM setting unit 66 sets the playback BPM of the first and second songs to the intermediate value. In the example in Figure 14, the playback BPM of each song is set to 110. When the fader operator 51 is positioned in the third range RC3, the BPM setting unit 66 sets the playback BPM of the first and second tracks according to the position of the fader operator 51, within the range between the intermediate value and the BPM of the second track. In the example in Figure 14, the BPM of the second track is 120, so the playback BPM of each track is set to a value greater than 110 and less than 120.

[0107] When the fader operator 51 is located at the second end TC2 (fourth position PC4), the BPM setting unit 66 sets the playback BPM of the first and second tracks to the BPM of the second track. In the example in Figure 14, the playback BPM of each track is set to 120. Note that the rate of change of BPM during playback in the first range RC1 and the third range RC3 is constant in the example in Figure 14, but it does not have to be constant. For example, this rate of change may change as the fader operator 51 is operated in the ±DC direction. When the BPM of each song changes during playback, the BPM setting unit 66 can adjust the BPM of each song in accordance with the volume level adjustment of the high-frequency and mid-frequency bands in response to the operation of the fader control 51 by the volume control unit 65. Therefore, each song can be mixed naturally without any sense of incongruity.

[0108] [Volume adjustment when operating the channel fader in assist mode] The following describes how the volume control unit 65A adjusts the volume of each song when the sound control device is in assist mode and the operators 33A1 and 33B1 of each channel fader 33A and 33B are operated. The BPM settings for playback of each song by the BPM setting unit 66 when each operator 33A1 and 33B1 is operated in assist mode are the same as the BPM settings for playback of each song by the BPM setting unit 66 described in the first embodiment. When the sound control device is in assist mode, the volume control unit 65A adjusts the volume of each frequency band of the first song according to the range in which the first operator 33A1 is located within the operable range RA. Also, when the sound control device 1 is in assist mode, the volume control unit 65 adjusts the volume of each frequency band of the second song according to the range in which the second operator 33B1 is located within the operable range RB.

[0109] Figure 15 shows the changes in the volume levels of the high-frequency band and the mid-frequency band of the first track, as well as the changes in the volume levels of the high-frequency band and the mid-frequency band of the second track, when each channel fader 33A and 33B is operated in assist mode. When the sound control device 1 is in assist mode, the volume control unit 65A adjusts the volume of the first song by adjusting the volume level of each frequency band of the first song according to the range in which the first operator 33A1 is located within the operable range RA. Also, when the sound control device 1 is in assist mode, the volume control unit 65A adjusts the volume of the second song by adjusting the volume level of each frequency band of the second song according to the range in which the second operator 33B1 is located within the operable range RB. As shown in Figure 15, position PA1 is defined as a predetermined position between the first end TA1 and the second end TA2 within the operable range RA of the first operator 33A1. Position PA1 can be located at a position 1 / 3 of the operable range RA from the second end TA2. The range from the first end TA1 to position PA1 is defined as the first range RA1, and the range from position PA1 to the second end TA2 is defined as the second range RA2. Furthermore, position PB1 is defined as a predetermined position between the first end TB1 and the second end TB2 within the operable range RB of the second operator 33B1. Position PB1 can be located at a position 1 / 3 of the operable range RB from the second end TB2. The range from the first end TB1 to position PB1 is defined as the first range RB1, and the range from position PB1 to the second end TB2 is defined as the second range RB2.

[0110] [Volume adjustment in the first range of the channel fader] As shown in Figure 15, the volume control unit 65A adjusts the volume levels of the high-frequency and mid-frequency bands of the first song according to the position of the first operator 33A1 in the first range RA1, and adjusts the volume levels of the high-frequency and mid-frequency bands of the second song according to the position of the second operator 33B1 in the first range RB1. The first pre-set volume V1st is preset based on the position of the first operator 33A1, and the second pre-set volume V2st is preset based on the position of the second operator 33B1. For example, the first pre-set volume V1st can be set to the volume corresponding to the position of the first operator 33A1 when the mode selector switch 4 is pressed and the operation mode is switched to assist mode by the mode selector unit 64. The second pre-set volume V2st can be set to the volume corresponding to the position of the second operator 33B1 when the mode selector switch 4 is pressed and the operation mode is switched to assist mode by the mode selector unit 64. However, the first pre-set volume V1st may be preset by other methods or other operators. The same applies to the second pre-set volume V2st.

[0111] In assist mode, when the first operator 33A1 is positioned at the first end TA1, the volume control unit 65A sets the volume levels of the high-frequency band, medium-frequency band, and low-frequency band of the first song to the minimum levels H1min, M1min, and L1min, respectively, and sets the overall volume of the first song to the first minimum volume V1min. When the first operator 33A1 is positioned in the first range RA1, the volume control unit 65A, although not shown in Figure 15, adjusts the volume level of the high-frequency band of the first song between the minimum level H1min and the set level H1lv, and adjusts the volume level of the mid-frequency band of the first song between the minimum level M1min and the set level M1lv, depending on the position of the first operator 33A1, while keeping the volume level of the low-frequency band of the first song at the minimum level L1min, as shown in Figure 15. In other words, when the first operator 33A1 is operated in the +DA direction in the first range RA1, the volume control unit 65A increases the volume levels of the high-frequency band and mid-frequency band of the first song, respectively, and when it is operated in the -DA direction, it decreases the volume levels of the high-frequency band and mid-frequency band of the first song, respectively. As a result, the overall volume of the first song changes. In the example shown in Figure 15, the rate of change of the volume levels in the high-frequency and mid-frequency bands of the first musical piece is constant, but it does not have to be constant. For example, each rate of change may change with the operation of the first operator 33A1 in the ±DA direction.

[0112] When the first operator 33A1 is positioned at position PA1, the volume control unit 65 sets the volume level of the low-frequency band of the first song to the minimum level L1min, the volume level of the high-frequency band of the first song to the set level H1lv, and the volume level of the mid-frequency band of the first song to the set level M1lv. Thus, the volume change of the first song when the first operator 33A1 is positioned in the first range RA1 is the same as the volume change of the first song when the fader operator 51 is positioned in the third range RC3.

[0113] In assist mode, when the second operator 33B1 is positioned at the first end TB1, the volume control unit 65A sets the volume levels of the high-frequency band, medium-frequency band, and low-frequency band of the second song to the minimum levels H2min, M2min, and L2min, respectively, and sets the overall volume of the second song to the second minimum volume V2min. When the second operator 33B1 is positioned in the first range RB1, the volume control unit 65A, while keeping the volume level of the low-frequency band of the second track at the minimum level L2min (not shown in Figure 15), adjusts the volume level of the high-frequency band of the second track between the minimum level H2min and the set level H2lv, and adjusts the volume level of the mid-frequency band of the second track between the minimum level M2min and the set level M2lv, depending on the position of the second operator 33B1, as shown in Figure 15. In other words, when the second operator 33B1 is operated in the +DB direction in the first range RB1, the volume control unit 65A increases the volume levels of the high-frequency and mid-frequency bands of the second track, respectively, and when it is operated in the -DB direction, it decreases the volume levels of the high-frequency and mid-frequency bands of the second track, respectively. As a result, the overall volume of the first track changes. In the example shown in Figure 15, the rate of change of the volume levels in the high-frequency and mid-frequency bands of the second musical piece is constant, but it does not have to be constant. For example, each rate of change may change with the operation of the second operator 33B1 in the ±DB direction.

[0114] When the second operator 33B1 is positioned at PB1, the volume control unit 65 sets the volume level of the second song's low-frequency band to the minimum level L2min, the volume level of the second song's high-frequency band to the set level H2lv, and the volume level of the second song's mid-frequency band to the set level M2lv. Thus, the volume change of the second track when the second operator 33B1 is positioned in the first range RB1 is the same as the volume change of the second track when the fader operator 51 is positioned in the first range RC1.

[0115] [Volume adjustment in the second range of the channel fader] The volume control unit 65A adjusts the volume level of the low-frequency band of the first song from the minimum level L1min to the set level L1lv, and adjusts the volume level of the low-frequency band of the second song from the minimum level L2min to the set level L2lv, according to the position of the first operator 33A1 in the second range RA2 and the position of the second operator 33B1 in the second range RB2.

[0116] Specifically, when the first operator 33A1 is positioned in the second range RA2 and the second operator 33B1 is positioned in the second range RB2, the volume control unit 65A converts the numerical values ​​indicating the position of the first operator 33A1 and the numerical values ​​indicating the position of the second operator 33B1, which are acquired by the position acquisition unit 63. More specifically, the volume control unit 65A converts the acquired numerical value indicating the position of the first operator 33A1 into a numerical value that is 0 when the first operator 33A1 is positioned at position PA1 and 1 when the first operator 33A1 is positioned at the second end TA2. Similarly, the volume control unit 65A converts the acquired numerical value indicating the position of the second operator 33B1 into a numerical value that is 0 when the second operator 33B1 is positioned at position PB1 and 1 when the second operator 33B1 is positioned at the second end TB2. Next, the volume control unit 65A divides the numerical value indicating the position of the converted first operator 33A1 by the numerical value indicating the position of the converted second operator 33B1, and obtains the numerical value of the division result. After this, the volume control unit 65A acquires the volume levels of the first song and the second song corresponding to the numerical value of the division result.

[0117] Figure 16 shows an example of the change in volume levels in the low-frequency bands of the first and second songs when the first operator 33A1 and the second operator 33B1 are operated in assist mode. In other words, Figure 16 is a diagram that explains the contents of the level change information stored in the memory unit (not shown). Here, the memory unit, which is not shown in the diagram, has pre-stored the graph shown in Figure 16. That is, the memory unit stores level change information indicating the volume level in the low-frequency band of each song corresponding to the numerical value of the division result. More specifically, the memory unit stores a function as level change information indicating the volume level in the low-frequency band of the first song, in which the volume approaches the minimum level L1min as the numerical value of the division result decreases, and approaches the set level L1lv as the numerical value of the division result increases. The memory unit also stores a function as level change information indicating the volume level in the low-frequency band of the second song, in which the volume approaches the set level L2lv as the numerical value of the division result decreases, and approaches the minimum level L2min as the numerical value of the division result increases. Note that the function stored by the memory unit as level change information may be a linear function as shown in Figure 16, or it may be a higher-order function such as a quadratic function.

[0118] Based on this level change information, the volume control unit 65A acquires the volume level of the low-frequency band of each song and sets the volume level of the low-frequency band of each song to the acquired volume level. Furthermore, if the operators 33A1 and 33B1 are located in the second ranges RA2 and RB2, the volume levels of the high-frequency and mid-frequency bands of the first song are set to levels H1lv and M1lv, respectively, and the volume levels of the high-frequency and mid-frequency bands of the second song are set to levels H2lv and M2lv, respectively. Thus, when the first operator 33A1 is placed in the second range RA2 and the second operator 33B1 is placed in the second range RB2, the volume change of each song is the same as the volume change of each song when the fader operator 51 is placed in the second range RC2.

[0119] [Swap between the first and second tracks in the output music] When the operating mode of the sound control device 1 is assist mode, the volume control unit 65A adjusts the volume levels of each frequency band of the first and second tracks as described above. Therefore, by operating the respective controls 33A1 and 33B1 as follows, the volume levels of each frequency band of the first track and each frequency band of the second track can be swapped, similar to when operating the fader control 51.

[0120] For example, suppose the first operator 33A1 is located at the second end TA2, and the second operator 33B1 is located at the first end TB1. In this case, the overall volume of the first song is the first set volume V1st, and the overall volume of the second song is the second minimum volume V2min. From this state, if only the second control 33B1 is operated in the +DB direction, as shown in the graph of the volume levels of the high-frequency and mid-frequency bands of the second track illustrated on the right side of Figure 15, while the second control 33B1 is in the first range RB1, the volume level of the low-frequency band of the second track remains at the minimum level L2min, while the volume levels of the high-frequency and mid-frequency bands of the second track increase. Then, when the second control 33B1 reaches position PB1, the volume level of the high-frequency band of the second track becomes the set level H2lv, and the volume level of the mid-frequency band of the second track becomes the set level M2lv. In this way, the volume levels of the high-frequency and mid-frequency bands of the second track can be adjusted in the same way as when the fader control 51 is operated in the first range RC1.

[0121] When only the second control 33B1 is operated from position PB1 in the +DB direction, the volume level of the high-frequency band of the second track remains at the set level H2lv, and the volume level of the mid-frequency band of the second track remains at the set level M2lv. As shown in Figure 16, the volume level of the low-frequency band of the second track increases from the minimum level L2min, while the volume level of the low-frequency band of the first track decreases from the set level L1lv. Consequently, the overall volume of the first track decreases from the first set volume V1st. Then, when the second operator 33B1 reaches the second end TB2, since the first operator 33A1 is also located at the second end TA2, as shown in Figure 16, the volume levels of the low-frequency band of the second piece of music and the volume levels of the low-frequency band of the first piece of music become equal. Subsequently, when only the first operator 33A1 is operated from the second end TA2 in the -DA direction, the volume level of the high-frequency band of the first song remains at the set level H1lv, the volume level of the mid-frequency band of the first song remains at the set level M1lv, and as shown in Figure 16, the volume level of the low-frequency band of the first song decreases, while the volume level of the low-frequency band of the second song increases. When the first operator 33A1 reaches position PA1, the volume level of the low-frequency band of the first track becomes the minimum level L1min, and the volume level of the low-frequency band of the second track becomes the set level L2lv. Consequently, the overall volume of the second track becomes the second set volume V2st. In other words, the conditions for the overall volume of the second track to become the second set volume V2st are that the second operator 33B1 is located at the second end TB2, and the first operator 33A1 is located at position PA, the first range RA1, or the first end TA1. The conditions for the overall volume of the first track to become the first set volume V1st are the same.

[0122] With the second operator 33B1 positioned at the second end TB2, if the first operator 33A1 is operated from position PA1 in the -DA direction, the volume level of the low-frequency band of the first song remains at the minimum level L1min, while the volume levels of the high-frequency band and mid-frequency band of the first song decrease, as shown in the graphs of the volume levels of the high-frequency band and mid-frequency band of the first song illustrated on the left side of Figure 15. When the first operator 33A1 reaches the first end TA1, the volume level of the high-frequency band of the first track becomes the minimum level H1min, the volume level of the mid-frequency band of the second track becomes the minimum level M1min, and the overall volume of the first track becomes the first minimum volume V1min. In this way, the volume levels of the high-frequency band and mid-frequency band of the first track can be adjusted, similar to when the fader operator 51 is operated in the third range RC3.

[0123] As described above, by operating the second operator 33B1 in the second range RB2 and the first operator 33A1 in the second range RA2, the volume level of the low-frequency band of the first song can be decreased and the volume level of the low-frequency band of the second song can be increased. That is, with the volume levels of the high-frequency and mid-frequency bands of the first song set to the predetermined levels H1lv and M1lv, and the volume levels of the high-frequency and mid-frequency bands of the second song set to the predetermined levels H2lv and M2lv, the volume levels of the low-frequency bands of the first and second songs can be increased or decreased to swap the volumes of the low-frequency bands of the first and second songs.

[0124] [Effects of the second embodiment] The sound control device according to this embodiment described above can achieve the same effects as the sound control device 1 according to the first embodiment described above, and can also achieve the following effects. In the sound control device according to this embodiment, the operable range RC of the fader operator 51 includes a first range RC1, a second range RC2, and a third range RC3. The first range RC1 is the range between the first position PC1 and the second position PC2. The second position PC2 is located in the +DC direction relative to the first position PC1. The +DC direction corresponds to the first operating direction from the first end TC1 to the second end TC2. The second range RC2 is the range between the second position PC2 and the third position PC3. The third position PC3 is located in the +DC direction relative to the second position PC2. The third range RC3 is the range between the third position PC3 and the fourth position PC4. The fourth position PC4 is located in the +DC direction relative to the third position PC3. The BPM setting unit 66 adjusts the playback BPM of the first track and the playback BPM of the second track to be closer to the BPM of the second track as the fader operator 51 is moved in the +DC direction. The BPM setting unit 66 also adjusts the playback BPM of the first track and the playback BPM of the second track to be closer to the BPM of the second track as the first operator 33A1 is moved in the -DA direction, or as the second operator 33B1 is moved in the +DB direction. With this configuration, the playback BPM of each song can be changed to approximate the BPM of the second song. Therefore, the operation of adjusting the playback BPM of each song to approximate the BPM of the second song can be simplified.

[0125] In the sound control device according to this embodiment, when the fader operator 51 is positioned in the first range RC1, the volume control unit 65A increases the volume levels of the high frequency band and the medium frequency band of the second track as the fader operator 51 is operated in the +DC direction, assuming that the volume levels of the high frequency band, medium frequency band, and low frequency band of the first track are set to levels H1lv, M1lv, and L1lv, respectively, and the volume level of the low frequency band of the second track is at the minimum level L2min. When the fader operator 51 is positioned in the second range RC2, the volume control unit 65A, while the volume levels of the high-frequency band of the first track, the mid-frequency band of the first track, the high-frequency band of the second track, and the mid-frequency band of the second track are set to the levels H1lv, M1lv, H2lv, and M2lv respectively, decreases the volume level of the low-frequency band of the first track and increases the volume level of the low-frequency band of the second track as the fader operator 51 is operated in the +DC direction. When the fader operator 51 is positioned in the third range RC3, and the volume levels of the high-frequency, mid-frequency, and low-frequency bands of the second track are set to levels H2lv, M2lv, and L2lv respectively, and the volume level of the low-frequency band of the first track is at the minimum level L1min, the volume levels of the high-frequency and mid-frequency bands of the first track are reduced as the fader operator 51 is operated in the +DC direction. As described above, the set levels H1lv, M1lv, and L1lv are volume levels set by the user using the high-frequency band adjustment unit 322, the mid-frequency band adjustment unit 323, and the low-frequency band adjustment unit 324 of the first channel operation unit 3A, as the maximum levels of the high-frequency band, mid-frequency band, and low-frequency band of the first song. The set levels H2lv, M2lv, and L2lv are volume levels set by the user using the high-frequency band adjustment unit 322, the mid-frequency band adjustment unit 323, and the low-frequency band adjustment unit 324 of the second channel operation unit 3B, as the maximum levels of the high-frequency band, mid-frequency band, and low-frequency band of the second song.

[0126] With this configuration, by moving the fader control 51 from the first end TC1 to the second end TC2, the volume of the high-frequency and mid-frequency bands of the second track is increased, the volume of the low-frequency band of the second track and the volume of the low-frequency band of the first track are swapped, and then the volume of the high-frequency and mid-frequency bands of the first track is decreased. Therefore, the transition from the first track to the second track can be made smoothly and seamlessly.

[0127] Furthermore, when the fader operator 51 is positioned in the second range RC2, and the volume levels of the high-frequency band of the first track, the mid-frequency band of the first track, the high-frequency band of the second track, and the mid-frequency band of the second track are set to the levels H1lv, M1lv, H2lv, and M2lv respectively, as the fader operator 51 is operated in the +DC direction, the volume level of the low-frequency band of the first track decreases and the volume level of the low-frequency band of the second track increases. According to this, by operating the fader control 51 in the +DC direction at a constant speed, when switching the music output from the sound control device from the first track to the second track, it is possible to swap the volume of the low-frequency band of the first track with the volume of the low-frequency band of the second track while maintaining the respective volumes of the high-frequency and mid-frequency bands of the first track, as well as the respective volumes of the high-frequency and mid-frequency bands of the second track. Therefore, it is possible to suppress the overlapping of the low-frequency sounds of each track and making them louder than the sounds of other frequency bands. Consequently, even inexperienced users can switch between the tracks naturally and without any sense of incongruity. At this time, the playback BPM of the first and second tracks is an intermediate value between the BPM of the first track and the BPM of the second track, so the first and second tracks can be mixed without any sense of incongruity.

[0128] In another example shown in Figure 14, when the fader operator 51 is positioned in the first range RC1, the BPM setting unit 66 sets the playback BPM of the first and second songs, respectively, within a range from the BPM of the first song to an intermediate value between the BPMs of the first and second songs, depending on the position of the fader operator 51. This allows the playback BPM of each track to be set within a range from the BPM of the first track to the aforementioned intermediate value, as the volume of the high-frequency and mid-frequency bands of the second track increases while the overall volume of the first track is at its maximum.

[0129] In another example shown in Figure 14, when the fader operator 51 is positioned in the second range RC2, the BPM setting unit 66 does not change the playback BPM of the first song or the playback BPM of the second song. That is, the playback BPM of each song becomes the intermediate value. According to this method, when swapping the low-frequency bands of each song, the playback BPM of each song remains the same and does not change. Therefore, compared to when the low-frequency sounds of each song are played at different BPMs, the first and second songs can be mixed together without any sense of incongruity.

[0130] In another example shown in Figure 14, when the fader control 51 is positioned in the third range RC3, the playback BPM of the first and second tracks is set within the range from the intermediate value to the BPM of the second track. This allows the playback BPM of each track to be set within a range from the aforementioned intermediate value to the BPM of the second track, as the volume of the high-frequency and mid-frequency bands of the first track decreases when the overall volume of the second track is at its maximum.

[0131] In the acoustic control device according to this embodiment, the first position PC1 is the first end TC1, and the fourth position PC4 is the second end TC2. The first range RC1 is the range from the first end TC1 to 1 / 3 of the operable range RC. The second range RC2 is the range from the second position PC2 to 1 / 3 of the operable range RC. The third range RC3 is the range from the third position PC3 to 1 / 3 of the operable range RC. With this configuration, the user can intuitively grasp the positions of the first range RC1, the second range RC2, and the third range RC3. Therefore, it becomes easier to operate the fader control 51 when mixing the first and second tracks.

[0132] [Variations of the Embodiment] The present invention is not limited to the embodiments described above, and any modifications and improvements that can achieve the objectives of the present invention are included within the scope of the present invention. In each of the embodiments described above, a crossfader 5 having a fader operator 51, a first channel fader 33A having a first operator 33A1, and a second channel fader 33B having a second operator 33B1 were given as operators that accept operations to adjust the volume of the first and second tracks, as well as operations to move the playback position of each track. However, the invention is not limited to these, and the operator according to the present invention does not have to be a sliding operator; for example, it may be an operating knob that can rotate around a rotation axis. In other words, the operator in the present invention may be any other operator.

[0133] Furthermore, the sound control device of the present invention may have only an assist mode as an operating mode. Moreover, the sound control device of the present invention may have an operator for the normal mode and an operator for the assist mode. In this case, the mode switching switch 4 and the mode switching unit 64 can be omitted.

[0134] In each of the above embodiments, in response to the operation of the fader operator 51 or each operator 33A1, 33B1, the first track is looped from the first playback position (first position) to the second playback position (third position) until the volume of the entire first track is at its minimum and the volume of the entire second track is at its maximum, and the second track is looped from the third playback position (second position) to the fourth playback position (planned mix position). However, this is not limited to this, and if the playback position of the first track is moved to the first playback position, it is not necessarily required to loop the section from the first playback position to the second playback position (third position). Similarly, if the playback position of the second track is moved to the third playback position (second position), it is not necessarily required to loop the section from the third playback position to the fourth playback position (planned mix position). Furthermore, even when looping is performed, it is possible to loop only one of the first or second tracks.

[0135] In each of the embodiments described above, in the first song, the first playback position, which is the first position, is the start of the outro, and the second playback position, which is the third position, is the end of the outro, i.e., the end of the first song. In the second song, the fourth playback position, which is the planned mixing position, is the start of the drop, and the third playback position, which is the second position, is a position in the middle of the build-up before the fourth playback position. However, the positions are not limited to these, and can be changed as appropriate. For example, if the song includes a chorus as a song element, the fourth playback position may be the chorus. Furthermore, the compositions of the first and second musical pieces described above are merely examples, and the compositions of musical pieces processed by the sound control device of the present invention are not limited to those described above.

[0136] In each of the above embodiments, the playback control unit 68 cancels loop playback of the second track when an operation is performed to minimize the overall volume of the first track. That is, the playback control unit 68 cancels loop playback of the second track when the fader operator 51 is moved to the second end TC2 where the overall volume of the first track becomes the minimum volume V1min. However, the playback control unit 68 is not limited to this, and may also cancel loop playback of the second track when an operation is performed to reduce the overall volume of the first track to a predetermined value or less.

[0137] In each of the above embodiments, the playback control unit 68 moves the playback position of each song when an operation is performed to increase the volume of the second song from a state where the volume of the entire first song is at its maximum and the volume of the second song is at its minimum. That is, the playback control unit 68 moves the playback position of each song when the fader operator 51 is operated in the +DC direction from the first end TC1 where the volume of the entire first song is at the first set volume V1st. Furthermore, the playback control unit 68 moves the playback position of each song when the first operator 33A1 or the second operator 33B1 is operated from a state where the first operator 33A1 is positioned at the second end TA2 and the second operator 33B1 is positioned at the first end TB1. However, the playback position of each song and the position of each operator can be changed as appropriate when the playback position of each song is moved.

[0138] In each of the above embodiments, the sound control device is provided with a BPM setting unit 66 that functions when the operating mode is assist mode and sets the BPM of the first song to match the BPM of the second song during playback. However, the BPM setting unit 66 is not limited to this and may be omitted.

[0139] In each of the above embodiments, the sound control program, which is read and executed by the computer's arithmetic processing circuit, is stored in a memory unit (not shown). However, the system is not limited to this; the sound control program may also be recorded on a recording medium in a computer-readable format and read and executed from the recording medium when the sound control device 1 is in operation. Furthermore, the sound control program may be provided from a server or other providing device via a network such as the Internet.

[0140] [Summary of the present invention] A summary of the present invention is provided below. [1] The sound control device that mixes the first and second pieces of music is: The system includes a playback control unit that, in response to the operation of controls for adjusting the volume of the first and second tracks, moves the playback position of the first track to a first position in the first track, and moves the playback position of the second track to a second position prior to a predetermined mixing position with the first track in the second track. With this configuration, the playback control unit moves the playback position of the first track to the first position and the playback position of the second track to the second position, which is before the planned mix position, in response to the operation of the volume control for each track by the playback control unit. Therefore, for example, when the control unit is operated so that the overall volume of the first track decreases and the overall volume of the second track increases, the playback positions of each track are moved as described above, thereby switching the output track from the first track to the second track and quickly playing the planned mix position of the second track. Consequently, mixing from the first track to the second track can be performed smoothly without any sense of incongruity, and the second track can be quickly played from a preferred playback position where it replaces the first track.

[0141] In the acoustic control device described in [2][1], The playback control unit, in response to the operation of the operator, controls the volume of the entire first song until the volume of the entire second song reaches its minimum and maximum levels. The section of the first song from the first position to the third position, which is after the first position, is played in a loop. The section from the second position in the second track to the planned mix position is played in a loop. With this configuration, for example, when switching from the first track to the second track by manipulating the control, each track can be looped until the overall volume of the first track reaches its minimum and the overall volume of the second track reaches its maximum. In other words, each track can be looped until the switch from the first track to the second track is complete. This allows for a smooth switch from the first track to the second track, regardless of the speed at which the control is moved.

[0142] In the acoustic control device described in [3][2], The third position is the end position of the first musical piece. With this configuration, for example, when switching from the first song to the second song, the section from the first position of the first song to the end position of the first song is looped until the switch from the first song to the second song begins. This allows for a smooth transition from the first song to the second song, even if the time between the two songs is long.

[0143] In the acoustic control device described in [4][2] or [3], The playback control unit cancels loop playback of the second song when the operator is operated to minimize the volume of the entire first song. With this configuration, the loop playback of the second track is canceled at the moment the first track is replaced by the second track, allowing the second track, which has replaced the first track, to play and output smoothly.

[0144] In the acoustic control device described in [5][4], The playback control unit moves the playback position of the second song to the planned mix position when the operation to minimize the volume of the entire first song is performed on the operator. With this configuration, the second track can be played from its planned mixing position at the moment the first track switches to the second track. Therefore, the transition from the first track to the second track can be smooth and seamless.

[0145] In the acoustic control device described in [6][4], If the playback control unit performs an operation to minimize the volume of the entire first song on the operator, and the playback position of the second song is not at a bar division position at that time, the unit plays the song up to the next bar division position, and then moves the playback position of the second song to the planned mix position. This configuration prevents the sudden shift in the playback position of the second track when transitioning slowly from the first track to the second track, thus avoiding any jarring rhythmic inconsistencies. Consequently, the transition from the first to the second track can be smooth and seamless.

[0146] In the sound control device described in any one of [7], [1] to [6], The playback control unit moves the playback position of the first song and the playback position of the second song when an operation is performed on the operator to increase the volume of the second song from a state where the volume of the first song as a whole is at its maximum and the volume of the second song as a whole is at its minimum. With this configuration, the playback control unit can move the playback position of both the first and second tracks, triggered by an operation on the control element when switching from the first to the second track.

[0147] In the sound control device described in any one of [8], [1] to [7], If the playback position of the first song is not at a bar division when an operation to increase the volume of the entire second song is performed on the operator from the position of the operator when the volume of the entire second song is at its minimum, the playback control unit plays the song up to the next bar division and then moves the playback position of the first song to the first position. This configuration prevents the rhythm of the first track from being disrupted when the playback position of the first track is moved abruptly. Therefore, the transition from the first track to the second track can be smooth and seamless.

[0148] In the sound control device described in any one of [9][1] to [9], The aforementioned first position is the starting position of the outro in the first song. With this configuration, when switching from the first track to the second track, the playback position of the first track is moved to the start of the outro in response to the operation of the control panel. Therefore, the playback position of the first track can be quickly moved to the end of the first track. Consequently, the switch from the first track to the second track can be performed smoothly.

[0149] In the sound control device described in any one of

[10] , [1] to [9], The planned mixing position is the starting position of either the drop or the chorus in the second song. With this configuration, when switching from the first song to the second song, characteristic drops or choruses in the second song can be played back quickly. Therefore, for example, the music playing in a venue can be switched from the first song to the second song without degrading the mood of the venue where the sound control device is installed.

[0150] In the sound control device described in any one of

[11] [1] to

[10] , The second position is at least one measure before the planned mixing position in the second song. With this configuration, depending on the speed of operation on the control panel, it is possible that the playback position of the second track may pass the planned mix position immediately after the first track has completely switched to the second track. In this case, the mood in the venue where the sound control device is installed may deteriorate. In contrast, by having the second position at least one measure before the planned mix position, it is possible to prevent the playback position of the second track from passing the planned mix position immediately after the complete switch from the first track to the second track. Therefore, the switch from the first track to the second track can be performed smoothly.

[0151] In the sound control device described in any one of

[12] [1] to

[11] , The system includes a BPM setting unit that, when an operation is performed on the operator to decrease the volume of the first song and increase the volume of the second song, starting from a state where the overall volume of the first song is at its maximum and the overall volume of the second song is at its minimum, adjusts the playback BPM of the first song and the playback BPM of the second song to bring them closer to the BPM of the second song from the BPM of the first song. With this configuration, as the proportion of the second track in the total volume output from the sound control device increases compared to the first track, the playback BPM of each track approaches that of the second track. Therefore, the BPM of each track can be adjusted according to the volume balance between the first and second tracks. In other words, each track is played at a BPM close to that of the track that accounts for a larger proportion of the output volume, thus reducing the sense of incongruity when mixing the first and second tracks, which have different BPMs. Consequently, the transition from the first to the second track can be seamless.

[0152] In the acoustic control device described in any one of

[13] [1] to

[12] , The control is a crossfader having a fader control for adjusting the balance between the volume of the first track and the volume of the second track. With this configuration, the first and second tracks can be mixed seamlessly by operating the fader controls. Therefore, mixing the first and second tracks is easier compared to operating separate controls for adjusting the volume of the first and second tracks.

[0153]

[14] The sound control program is recorded in a computer-readable format to cause the computer to function as the sound control device described in any one of [1] through

[13] . By having a computer execute such an acoustic control program, the same effects as the acoustic control device described above can be achieved. [Explanation of Symbols]

[0154] 1...Sound control device, 33A...First channel fader (operator), 33A1...First operator, 33B...Second channel fader (operator), 33B1...Second operator, 5...Crossfader (operator), 51...Fader operator, 6,6A...Control unit, 61...First playback unit, 62...Second playback unit, 63...Position acquisition unit, 64...Mode switching unit, 65,65A...Volume adjustment unit, 66...BPM setting unit, 67...Operation judgment unit, 68...Playback control unit, 69...Position setting unit, 70...Position selection unit, PP1,PP2...Playback position, RA,RB,RC...Operable range, TA1,TB1,TC1...First end, TA2,TB2,TC2...Second end.

Claims

1. In an audio control device that mixes the first and second musical pieces, When, starting from a state where the overall volume of the first track is at its maximum and the overall volume of the second track is at its minimum, at least one of the following operations is performed on the controls for adjusting the volume of the first track and the volume of the second track: an operation to decrease the overall volume of the first track and an operation to increase the overall volume of the second track. In this case, the playback position of the first track is moved to a first position in the first track, and the playback position of the second track is moved to a second position in the second track that is set in advance by the user and is scheduled to be mixed with the first track. The sound control device is characterized by comprising a playback control unit that moves the playback position of the first song to the first position, moves the playback position of the second song to the second position, and then, in response to an operation on the control element, loops playback from the first position to a third position after the first position in the first song, and loops playback from the second position to the planned mix position in the second song, until the overall volume of the first song falls below a predetermined value.

2. In the acoustic control device according to claim 1, The playback control unit, in response to the operation on the control element, controls the volume of the entire first song until the volume of the entire second song reaches its minimum and maximum levels. The section from the first position to the third position in the first song is played in a loop. An audio control device characterized by looping playback of the section from the second position in the second song to the planned mixing position.

3. In the acoustic control device according to claim 1, The sound control device is characterized in that the third position is the position at the end of the first musical piece.

4. In the acoustic control device according to claim 1 or claim 3, The sound control device is characterized in that, when the volume of the entire first song falls below a predetermined value in response to an operation on the control element, the playback control unit cancels the loop playback of the second song.

5. In the acoustic control device according to claim 4, The sound control device is characterized in that, when the volume of the entire first song falls below a predetermined value in response to an operation on the control element, the playback position of the second song is moved to the planned mix position.

6. In the acoustic control device according to claim 4, The sound control device is characterized in that, if the playback control unit, in response to an operation on the operator, is not at the playback position of the second song at the time when the volume of the entire first song falls below a predetermined value, it plays up to the next bar division position and then moves the playback position of the second song to the planned mix position.

7. In the acoustic control device according to claim 1 or claim 3, The sound control device is characterized in that, when the playback control unit is in a state where the volume of the entire first song is at its maximum and the volume of the entire second song is at its minimum, if the playback position of the first song is not at a bar division at the time an operation is performed on the operator to increase the volume of the entire second song, the playback control unit plays the song up to the next bar division and then moves the playback position of the first song to the first position.

8. In the acoustic control device according to claim 1 or claim 3, The first position is the starting position of the outro in the first song, characterized in that Acoustic control device.

9. In the acoustic control device according to claim 1 or claim 3, The sound control device is characterized in that the planned mixing position is the starting position of either the drop or the chorus in the second song.

10. In the acoustic control device according to claim 1 or claim 3, The sound control device is characterized in that the second position is at least one measure before the planned mix position in the second song.

11. In the acoustic control device according to claim 1 or claim 3, The sound control device is characterized by comprising a BPM setting unit that, when at least one of the operations described above is performed, adjusts the playback BPM of the first song and the playback BPM of the second song to bring them closer to the BPM of the second song from the BPM of the first song.

12. In the acoustic control device according to claim 1 or claim 3, The sound control device is characterized in that the operator is a crossfader having a fader operator for adjusting the balance between the volume of the first song and the volume of the second song.

13. An acoustic control program that is recorded in a computer-readable format and causes a computer to function as an acoustic control device according to claim 1 or claim 3.

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