JPS604475B2 - Modulation effect circuit for electronic musical instruments - Google Patents

Description

DETAILED DESCRIPTION OF THE INVENTION The present invention relates to an improvement in a modulation effect circuit for an electronic musical instrument for obtaining a repeat effect.

In order to obtain the repetitive sounds of a mandolin, marimba, banjo, etc., the output pulse train of a modulation oscillator was converted into a sawtooth waveform, and this waveform was used to apply amplitude modulation to the musical tone signal.

Therefore, since the musical tone generation timing directly corresponds to the output timing of the modulation oscillator, even if the tone of the generated tone is changed to a different tone, the modulation rate does not change and remains constant regardless of the tone. By the way, since the repetition frequency of a repeating tone usually differed depending on the color in the past, in order to obtain a preferable repeat effect corresponding to each tone in the above-mentioned subsidiary, the above-mentioned modulation frequency was changed every time the selected tone was switched. The oscillation frequency of the oscillator had to be manually adjusted using a volume control, which was complicated. This invention was made in order to improve the above-mentioned drawbacks, and it is possible to preset a modulation rate corresponding to each tone color, and to preset the modulation rate corresponding to the blue color by moving the tone color selection in an electronic musical instrument. A modulation signal is repeatedly generated at a time interval (period) corresponding to the selected modulation rate, and the performer operates the frequency of a clock signal that sets the unit time of the time interval. By making variable control possible by operating the child, the modulation rate of the modulation effect can be automatically switched according to the selected tone, and the relative relationship of the modulation rate set between each tone can be changed without changing. The present invention aims to provide a modulation effect circuit that allows manual adjustment of each modulation rate.

Hereinafter, one embodiment of the present invention will be described in detail based on the accompanying drawings.

(Description of overall configuration of electronic musical instrument) In FIG. 1, a pressed key detection circuit 11 detects a pressed key on a keyboard 10 and supplies information representing the pressed key to a sound generation assignment circuit 12.

The sound generation assignment circuit 12 is for allocating the sound of a pressed key to one of a specific number of sound generation channels. A key code KC representing a pressed key assigned to each channel is sent out from the sound generation assignment circuit 12 in a time-division manner.

The key code KC is a 4-bit note code N1, N2, N3, N4 for distinguishing the 12 note names C to B, and a 3-bit block code B1, B2, B3 for distinguishing the octave range to which the note name belongs. It consists of In addition, the sound generation assignment circuit 12 indicates whether the key assigned to each channel is being pressed (“1”) or whether the key has been released (“1”).
A 1-bit first key-on signal KOI representing ``) is output in a time-sharing manner, and a second key-on signal KO2 that is ``1'' is output only for a short period of time when the key is pressed. Various control information types (not specifically explained) are output.For example, the generation time width of the second key-on KO2 is about 5 seconds.This second key-on KO2 is used to control the opening and closing of the attenuated sound. Key code K
C, key-on signals KO1, KO2, and other control information are supplied to a data multiplexing circuit 13, where they are multiplexed into 4-bit data KC1, KC2, KC3, and KC4.

In this way, key information is converted into small number of bits of data KCI~K
The reason for multiplexing to C4 is that the sound generation assignment circuit 1
This is to save the number of wires connecting the integrated circuit chip on the second side and the integrated circuit chip on the musical tone generating circuit section 14 side. In the data multiplexing circuit 13, before multiplexing and transmitting the key information, it transmits reference data used to determine the time slot in which the key information of each channel is located. Standard data is data KC1, KC2, KC3, KC4
The contents of are all “1” data. Multiplexed data KCI to KC4 output from the data multiplexing circuit 13
There are a total of 54 time slots, and the reference data “11
Data KCI to KC4 in each time slot "1 to 54" with the time slot in which "11" occurs as "1"
The state is shown in Figure 2.

In FIG. 2, chi to ch7 are musical tone generation circuits 15 (
The seven sound generation channels in FIG. 1) are shown. Time slots “4” to “24” are for each channel
It is used for sending data assigned to channels i to ch7. It is assumed that the remaining time slots are blank. Each time slot "1-54" is repeated. Second
Referring to the figure, it can be seen that three time slots are allocated to one sound generation channel in the multiplexed data KCI to KC4.

If one time slot is one bit time, the channels of data KCI to KC4 are switched every three bit times.

In Figure 2, in the first time slots "4", "7", "10"..."22" of each channel, the second
It is shown that the key-on signal KO2 is assigned to the lowest data KCI. Also, flock code B1
-B3 are assigned to data KCI-KC3, and the first key-on signal KOI is assigned to data KC4.

Further, note codes NI to N4 are assigned to data KCI to KC4. Then, the block codes BI to B3 and the first key-on signal KOI of the same channel (same key) are the time slot "2" before the note codes NI to N4,
They are assigned to "5", "8"..."23". In other words, the block code BI of each channel (each pressed key)
~B3 and the first key-on signal KOI appear in the data KCI~KC4 every 3 bit times. Also, note codes NI to N4 are time slots "3", "6"..."
24'', which also appears in data KCI to KC4 every 3 bit times. Details of an electronic musical instrument using the data multiplexing circuit 13 as described above are given in Tokuwaki Sho 52.
-100966.

Since this point is not an essential part of the present invention, detailed explanation thereof will be omitted in this specification. Table 1 shows an example of the correspondence between the states of note codes NI to N4 and the note names C# to C of the 12-tone scale. The large value 4. of the note codes NI to N4 corresponds to the pitch order of each note name C# to C. C# is the lowest note and C is the highest note. However, the value of C is converted from "1111" to "110" in the data multiplexing circuit 13. This is because the value of C is converted from "1111" to "110" in the data multiplexing circuit 13.
This is to prevent confusion with 1). Further, Table 2 shows an example of the relationship between the contents of block codes BI to B3 and the octave range. The second musical tone generation circuit 14 of Table 1 uses the note code N from the multiplexed data KCI to KC4 supplied from the data multiplexing circuit 13.
I~N4, flock code BI~B3, key-on signal K
O1 and KO2 are taken out for each channel, and based on these key information, musical tones are generated in each channel chi to ch7 in the musical tone generating circuit 15.

A demodulation circuit 25 and a timing signal generation circuit 2 are used to demodulate key information items NI to KO2 and distribute them to each channel.
6 is provided in the musical tone generation circuit section 14. The highest note detection circuit 28 is a circuit that detects the highest note among the pressed keys.
The detected highest pitch information (TCH) is supplied to the repeat modulation control section 16.

The repeat modulation control unit 16 receives the highest tone information (TCH).
, a key-on signal KO2S and a decay signal DS are generated in accordance with the key-on signals KO1 and KO2 from the demodulation circuit 25 and the tone selected by the tone color selection section 17. key
The on signal KO2S is a signal instructing that the sound should be generated, and the decay signal DS is a signal instructing that the sound generation should be ended. When the repeat effect is selected, the key-on signal KO2S is repeatedly generated, and the repetition time interval is changed according to the tone selected by the tone color selection section 17. The note clock generator 29 generates high frequency note clock pulses 29C to 29B corresponding to the pitches of the respective note names C to B.

The musical tone generation circuit 15 generates note clock pulses 29 according to the keys assigned to each channel chi to ch7.
Select C to 29B and select the selected note clock pulse 2.
Musical tone signals are generated based on 9C to 29B. The generated musical tone signal is controlled to open and close by the key-on signal KO2S, and reaches the sound system 27 via the tone circuit 18. (Detailed explanation of the configuration of each part) Regarding tone selection The tone selection section 17 shown in FIG. The output is applied to a priority circuit 20.

The priority circuit 20 is a circuit for preferentially selecting one tone when a plurality of tones are selected by the tone selection switch 19, and the priority is given to marimba (MR), mandolin (
MD), banjo (BJ), and guitar (GT). Each of the tone color selection signals MR to GT is supplied to the musical tone generation circuit 15 and the tone color circuit 18.

These signals MR to GT are used in the musical tone generation circuit 15 for selecting the sound source waveform and controlling the envelope.
In the timbre circuit 18, it is used for cutoff frequency and Q control of the timbre filter. Furthermore, the marimba selection signal MR and the mandolin selection signal MD are supplied to the repeat modulation control section 16 via an OR circuit 21 as a twin mallet selection signal TM. The banjo selection signal BJ and the guitar selection signal GT are also supplied to the repeat modulation control section 16. In this embodiment, there are three tones to which the repeat effect is applied: marimba, mandolin, and banjo, and it is assumed that the repeat effect is not applied to the guitar.

In particular, the marimba and mandolin have a special "twin mallet" beat effect, which is different from the banjo's repeat effect. The repeat modulation control section 16 switches the modulation rate, that is, the time interval of the repeated sound, depending on whether the mode is "twin mallet" or "banjo repeat." This point will be discussed later. A detailed example of the detection and demodulation circuit 25 and timing signal generation circuit 26 for the reference data "1111" is shown in FIG.

Data KCI to K supplied from the data multiplexing circuit 13
C4 is added to the demodulation circuit 25 and is delayed by one bit time via a delay flip-flop group 30. Each delay flip-flop in the delay flip-flop group 30 is driven by a two-phase clock pulse 0,02 having a period of one bit time (for example, one French s). The data KCI to KC4 output from the delay flip-flop group 30 are input to the AND circuit 31, and the data KCI is input to the latch circuit 34 and the delay flip-flop 3 via the OR circuit 32.
5, the data KC2 passes through the OR circuit 33 to the latch circuit 3.
4 and delay flip-flop 36, data KC3 and KC4 are sent to latch circuit 34 and delay flip-flop 37,
38, respectively. The AND circuit 31 to which all data KCI to KC4 are input is for detecting reference data "1111".

The time slots of the multiplexed data KCI-KC4 output from the delay flip-flop group 30 are shown in FIG. 4a. This time slot corresponds to the time slot in FIG. For reference, the two-phase clock pulses G,,G2 are shown in FIG. 4B. As is clear from FIG. 2, since the reference data "111r" is sent out in time slot "1" of multiplexed data KCI to KC4, when the output of the AND circuit 31 becomes "1", The time slot is "1". The output "1" of the AND circuit 31 is supplied to the timing signal generation circuit 26 as a reference pulse signal SY' (see FIG. 4c). The timing signal generation circuit 26 determines the subsequent time slots "2" to "54" based on the input of the reference pulse signal SY', and
Bit time period control clock pulse 3Y1, 〇＾
〇B, and control pulses SPI to SP7 for distributing key information to each channel of the musical tone generating circuit 15 are generated.

In the timing signal generation circuit 26 (FIG. 3) for generating the control clock pulses 3Y1, 〇''〃8, the reference pulse signal SY' is applied via an OR circuit 39 to four delay flip-flops.

The output of delay flip-flop 40 is applied to delay flip-flop 41. The outputs of both flip-flops 40 and 41 are returned to the OR circuit 39 via the NOR circuit 42. Further, the output of the OR circuit 39 is input to a delay flip-flop 43. Delay flip-flops 40, 41, 43 are driven by clock pulses ッ, , 〃2. Time slot “3” 2 bit times after time slot “1” where the reference pulse signal SY′ is supplied to the OR circuit 39
”, the output of the delay flip-flop 41 becomes “1”, and the outputs of the delay flip-flops 40 and 41 both become “0” in time slot “4” after 3 bit times.
As a result, the output of the NOR circuit 42 becomes "1". Since the output "1" of the NOR circuit 42 is returned to the OR circuit 39, the output of the OR circuit 39 becomes "1" in a 3-bit time period.
Therefore, the control pulse 3YI which is the output of the OR circuit 39 is shown in FIG. 4d, and the control clock pulse 0^ which is the output of the delay flip-flop 43 is shown in FIG.
The control clock pulse B, which is the output of 1, is generated at a 3-bit time period, as shown in FIG. Demodulation of key information In the demodulation circuit 25 shown in FIG. ) The output of the AND circuit 44 is given to the input S.

The control clock pulses B and clock pulse 02 are supplied to the input of the AND circuit 44. Therefore, the AND circuit 44 obtains a pulse ○B' in which the clock pulse 08' is selected only in the first half of its pulse generation time slot (corresponding to the pulse width of clock pulse 2). 〇It is the same as B, but the pulse width is different.The latch circuit 34 is connected to the data KC.
Key information for one channel NI~N4, BI~ supplied in a time-sharing manner during 3 bit times as I~KC4
This is to simultaneously latch B3, KO1, and KO2 at the timing of pulse B'. Therefore, data K
Delay CI~KC4 flip-flops 35~38, 45
, 46 are appropriately shifted and inputted to the data input terminal D of each latch position of the latch circuit 34. Second
As can be seen from the figure and FIG. 4, pulses 08 and 〃B' are times at which note codes NI to N4 are supplied as data KCI to KC4.

This is generated in synchronization with the hits "6", "9", "12", and so on. Therefore, each bit of the data KCI-KC4 outputted from the delay flip-flop group 30 is directly input to the latch position corresponding to each bit of the note code NI-N4. The block codes BI~B3 and the first key-on signal KOI of the same channel are the data KCI~ in the time slot 1 bit time before the note codes NI~N4.
Supplied in the form of KC4. Therefore, data KCI~KC
4 bits are delayed by flip-flops 35, 36, 37
, 38 are input to the latch positions corresponding to the block codes BI to B3 and the first key-on signal KOI, respectively. Also, the second channel on the same channel
The key-on signal KO2 is supplied in the form of data KCI in a time slot 1 bit before the block codes BI to B3. Therefore, the data KCI delayed by the delay flip-flop 35 is further delayed by 1 bit time by the delay flip-flop 45, and is input to the latch positions corresponding to the second key-on signal KO2. Therefore, when the latch control pulse B' is generated, the data input side of the latch circuit 34 has note codes NI to N4 of the same channel.
, block codes BI to B3, key-on signals KO1, K
Since O2 is supplied at the same time, these key information NI
~N4, BI~B3, KO1, and KO2 are latched at the same time.

The stored contents of the latch circuit 34 are rewritten every three bit times according to the latch control pulse 08'. Data KCI
~KC4 channel also changes every 3 bit times (
(See Figure 2) Therefore, the memory contents of the latch circuit 34 are sequentially stored in channel key information NI to N at every 3 bit times.
Rewritten as 4, BI~B3, KO1, KO2. Second
The state of data KCI to KC4 in each of the time slots 1" to 54 shown in the figure is shown in a simplified manner in FIG. 4g.

In the figure, chi to ch7 represent channels. Figure 4h
indicates the channels to which the key information items NI to KO2 output from the latch circuit 34 in each time slot are assigned. For example, time slot "6"
The key information items NI to N4, BI to B3, KO1 and KO2 of the pressed keys assigned to channel chi are read into the latch circuit 34 by the latch control pulse 08' generated at time slot ``6''. The latch circuit 34 outputs until "8". Key information items NI~N4, BI~B3, KO of the pressed keys assigned to channel Cb2 by the latch control pulse 08' generated in the next time slot "9"
1 and KO2 are read into the latch circuit 34 and continue to be output from the latch circuit 34 during time slots "9" to "11". Thereafter, as shown in FIG. 4h, the key information items NI to B3, KO output from the latch circuit 34
1. KO2 channel changes. In the demodulation circuit 25, a circuit consisting of OR circuits 32, 33, an AND circuit 47, and inverters 48, 49 provided before the delay flip-flops 35 to 38 converts the note codes NI to N4 of the C note to their original values. “This is a circuit to return to 111r.

As mentioned above, in order to avoid confusion with the reference data "111r, the note codes N4 to NI of the C note are changed to the value "110" and supplied, so the lower data KCI
and KC2 are inverted by inverters 48 and 49, and the upper data KC3 and KC4 are input to a 5-input type AND circuit 47, and the AND circuit 47 detects that the C sound change code "110" has arrived. .This AND circuit 4
The pulse 〃8 is added to the remaining input of 7, and /
The above-mentioned detection operation is enabled only in the time slots in which the root codes NI to N4 are supplied. When the C note change code “110pi” is detected, the output of the AND circuit 47 becomes “1”, which is output to the OR circuit 32,
Note code N1, N of latch circuit 34 via 33
is input into the latch position corresponding to 2. Latch circuit 34
Note codes NI to N4 and block codes BI to B3 outputted from the tone generating circuit 15 are supplied to a musical tone generation circuit 15, and key-on signals KO1 and KO2 are supplied to a repeat modulation control section 16.

In addition, note code NI~N4, flock code BI~
B3, the first key-on signal KOI is supplied to the highest note detection circuit 28. Generation of Control Pulses The timing signal generation circuit 26 shown in FIG. 3 generates control pulses SPI to SP7 corresponding to each of the sound generation channels chi to ch7 of the musical tone generation circuit 15.

Control pulses SPI to SP7 are note codes NI to N4
, block codes BI to B3, etc., to the respective sound generation channels chi to ch7 in the musical tone generation circuit 15. In the timing signal generation circuit 26 of FIG. 3, a reference pulse SY is applied to the data input D of the latch circuit 113.

The AND circuit 125 receives the pulse 3Y1 (FIG. 4d) generated from the OR circuit 39 and the clock pulse ○2. The output of this AND circuit 125 is the latch circuit 1
13 strobe input S. Therefore, the memory contents of the latch circuit 1 13 are rewritten every time slot "1", "4", "7↓..." (every 3 bit times) when pulse 3YI occurs.
13 has time slots “1” and “1” between “2↓”3”.
” is stored. The output of the latch circuit 113 is delayed by 2 bit time in a delay flip-flop 126 driven by a two-phase clock pulse 〃^, OB, and the output is outputted by a signal CL1.
(See Figure 4i) is obtained.

Signal CLI is generated immediately before the data transmission timing of channel chi. Signal CLI is shift register 3
5 and the set input S of flip-flop 139.

The shift register 35 has 7 stages/1 bit,
It is driven every 3 bit times by two-phase clock pulses ○^, ○B. The output of each stage of the shift register 135 is gated by an AND circuit group 137 at the timing of a clock pulse 〇^. The outputs of this AND circuit group 1-37 are control pulses SPI to SP7. The timing of generation of each control pulse SPI to SP7 is shown in FIG. 4i. Each control pulse SPI to SP7 corresponds to each channel chi to ch.
It can be seen from FIG. 4 h and j that the timing corresponds to the data sending timing of No. 7. The output of the final stage of the shift register 135 is sent as the end signal SPF to the highest pitch detection circuit 28 (
Figure 5).

The generation timing of the signal SPF is shown in FIG. 4k. This signal SPF includes the key codes NI to N4 of each channel,
This indicates that the transmission of BI to B3, KO1, and KO2 has been completed. The output (SPF) of the final stage of the shift register 135 is applied to the reset input R of the flip-flop 139.

The output Q of flip-flop 139 is clock pulse 0.
Delay flip-flop 14 driven by ^,08
1, and a signal SPT (FIG. 4) is obtained from the delay flip-flop 141 representing the data transmission period. Regarding detection of the highest pitch, the highest pitch detection circuit 28 shown in FIG.
are the note codes NI~N4 and the block codes BI~ supplied from the latch circuit 34 (FIG. 3) of the demodulation circuit 25.
B3, the first key-on signal KOI is regarded as an 8-bit digital numerical signal, and the codes NI to KO of each channel are
By successively comparing the values of I, the chord classes NI to KO1 (that is, the highest note) having the maximum value are detected.

The weight of each bit is KOI as MSB, and the following B3, B
2, B1, N4, N3, N2, in the order, and NI is LSB
shall be. In this way, as is clear from Tables 1 and 2 above, the codes B3, B2, B1, N4, N3,
The value of N2, NI, which is large 4.0, corresponds to the pitch of the sound. Further, by setting the first key-on signal KO1 (which remains "1" continuously during key depression) to be MSB, the sound during key depression is given priority over the sound during key release. Note code NI supplied from latch circuit 34 (Figure 3)
~N4, block code BI~B3, key-on signal KO
I is supplied to one input A of comparison circuits 143 and 144 and data D of latch circuit 145.

The comparison circuit 143 compares the codes of each channel from NI to KOI.
This is for successive comparison of the magnitude of . Latch circuit 1
45 is for temporarily storing the larger code NI to KOI based on the comparison result of the comparison circuit 143;
When the comparison of all channels Chi to ch7 is completed, the codes *NI~ stored in the latch circuit 145
*KOI is information about the maximum value, that is, the highest note among the key pressed sounds (or generated sounds). Memory code of latch circuit 145 *N
I~*N4, *BI~*B3, *KOI are comparison circuits 14
3 is added to input B.

Comparison circuit 143 compares inputs A and B, and when A>B,
In other words, the memory codes *NI to *KO of the latch circuit 145
When codes NI to KOI from the demodulation circuit 25 are larger than I, a signal "1" is output to the OR circuit 146.
The output of the OR circuit 146 is applied to the strobe input S of the latch circuit 145 via an AND circuit 147. Pulse 3Y1 (FIG. 4d) is applied to the other input of AND circuit 147. The other input of the OR circuit 146 is supplied via a delay flip-flop 148 with the signal CLI supplied from the delay flip-flop 126 of FIG. Signal CL
Since I is generated as shown in FIG. " is output and applied to the AND circuit 147 via the OR circuit 146.

Therefore, time slot "7" in which pulse 3YI occurs
, the AND circuit 147 outputs "1", and the latch circuit 145 outputs the code N applied to the data input D.
Memorize I~KOI. As is clear from FIG. 4h, these are the sound codes NI to KOI assigned to the first channel chi. In this way, initially, the code NI of the note assigned to the first channel chi
~KOI is written in latch circuit 145. Next, when codes NI to KOI of channel ch2 appear, comparison circuit 143 compares them with codes *NI to *KOI of channel chi written in latch circuit 146.

If A>B, the memory code *NI of the latch circuit 145
~*The KOI is rewritten to that of channel ch2, but if A>B, the memory code of the latch circuit 145*
NI~*KOI cannot be rewritten. In this way, the codes NI to KOI of each channel and the stored codes *NI to *KOI of the latch circuit 145 are successively compared, and the larger code *NI to *KOI is written in the latch circuit 145. At time slot "25" when the comparison with the codes NI to KOI of the last channel ch7 is completed, the codes *NI to *KOI stored in the latch circuit 145 are
This is the highest chord.

The timing at which the highest chords *NI to *KOI reliably appear is shown in Fig. 4m. The outputs *NI to *KOI of the latch circuit 145 are input to the highest note storage section 149.

The highest pitch storage section 149 has the same function as a latch circuit with eight latch positions, and includes two delay flip-flops, an AND circuit for memory retention of each flip-flop, an AND circuit for memory rewriting, and an AND circuit for memory rewriting of each flip-flop. Flip the output of the AND circuit. Contains an OR circuit that inputs to the input pin. The AND circuit 151 for memory control receives the key-on signal *KO1 stored in the latch circuit 145 and the shift register 13.
Termination signal SPF from 5 (Figure 3) and pulse 3YI
is input. When the output of the AND circuit 151 is “1”, the highest note code *NI stored in the latch circuit 145
~*KOI is written into the highest note storage section 149. When the output of the AND circuit 151 is "0", the memory in the storage section 149 is self-held. End signal SPF
is generated as shown in FIG. 4k.

As can be seen from Figure 4 d, k, and m, time slot “2
5'', the highest note chords *NI to *KOI are accurately written into the storage section 149. Note that when the memory codes *NI to *KOI of the latch circuit 145 are for the note during the key release, *KOI is "0", the AND circuit 151 does not operate, and the memory code of the highest note memory section 149 is cannot be rewritten. The stored code of the highest note storage section 149 is coupled to the input B of the comparison circuit 144.
Comparator circuit 144 produces an output when A=B. In other words,
When the highest tone code stored in the storage unit 149 matches the tone code NI to KOI assigned to each channel, the output of the comparison circuit 144 becomes ``1''. Channel detection signal TC
The signal H is supplied to the repeat modulation control section 16. The highest tone channel detection signal TCH becomes ``1'' at the time of the channel to which the highest tone is assigned (see Figure 4h).The musical tone generation circuit Figure 6 shows an example of the musical tone generation circuit 15 for one channel c.
FIG. 3 is a block diagram shown regarding hi.

The musical tone generating circuit 15 is provided with musical tone generating channels configured as shown in FIG. 6, corresponding to seven channels chi to ch7. The note codes NI to N4 supplied from the latch circuit 34 in FIG.
53 data inputs D, respectively.

Further, the key-on signal KO2S and the decay signal DS supplied from the repeat modulation control section 16 are sent to the latch circuit 154.
are added to data input D, respectively. Each latch circuit 152
~154 strobe inputs S have individual channels c
Control pulses SPI to SP7 corresponding to hi to ch7 are supplied from the timing signal generation circuit 26 in FIG. In FIG. 6, the control pulse SP corresponding to channel chi
I is supplied. As shown in FIG. 4h and i, each control pulse SPI to SP7 is applied to each channel. It occurs in correspondence with the sending timing of the key codes NI to 04 and BI to B3 of the channel channels chi to ch7, so the note codes NI to N4 and block codes BI to B for each channel chi to ch7 are generated.
3. The key-on signal KO2S and the decay signal DS are distributed to each latch circuit 152 to 154 corresponding to its own channel (chi in FIG. 6), where they are latched and converted into continuous signals. The note selector 155 selects a single note clock (ie A note clock corresponding to the note name of the key assigned to channel chi is selected and supplied to the counter 56. The power counter 156 counts the note clock given from the note selector 155 and sends the multi-bit count value signal to the octave selector 1.
57. The octave selector 157 shifts the binary bit position of the count value signal given from the counter 56 according to the values of the block codes BI to B3 latched in the latch circuit 153, and
Generates D. The address signal AD is a waveform memory 58,
159 and 16 are used to sequentially read sample point amplitudes of the stored sound source waveform. The waveform memory 158 is a mirror tooth wave, the waveform memory 159 is a triangular wave, and the waveform memory 160 is a triangular wave.
are stored as square waves, respectively, and each sound source waveform signal read out in response to the address signal AD is amplitude-modulated by the envelope waveform signal on line 161. As the waveform memories 158 to 160, for example, a basic structure consisting of a resistive voltage dividing circuit in which a voltage dividing ratio corresponding to the amplitude of each waveform sample point is set and a gate section for taking out the voltage at each voltage dividing point is used. The terminal voltage of a capacitor 162 is given as an envelope waveform signal on a line 161. The key-on signal KO2S latched in the latch circuit 154 causes the flea effect transistor (hereinafter referred to as FET) 163 to
When conductive, the voltage -5 is applied via the attack resistor rl.
V is charged to capacitor 162. Key-on signal KO
2S is a signal that becomes "1" only for a short time when the sound starts, and the capacitor 162 starts discharging when the signal KO2S becomes "0". The discharge circuit consists of resistor r2 and FET16.
4 or resistor r3 and FET165 or line 1
61 and formed by resistance circuits in the waveform memories 158 to 160, etc. It is indicated by the equivalent resistance Ro of the resistive voltage divider circuit in the waveform memories 158 to 160. The resistance value is Ro》
The relationship is r2》r3》r1. Resistor r3 and FET165 are used to quickly dissipate the sound, and follow the normal gentle attenuation curve (sustain).
is the circuit of resistor r2 and FET164 or waveform memory 1
It is formed by an equivalent resistance Ro within 58-160. F
A guitar selection signal GT is supplied to the gate of the ET 164 from the tone selection section 17 shown in FIG. Therefore, when the guitar tone is selected, FET 164 becomes conductive and the resistance r
Capacitor 162 is discharged via 2. For example, r2 is about 37KQ, and the sustain time obtained by this is relatively short. When the signal GT is "0", that is, when a marimba, mandolin, or banjo tone is selected, the FET 164 is turned off and the capacitor 16
2 is discharged exclusively through the resistor circuit Ro in the waveform memories 158-160. The total resistance Ro of this resistance circuit is r2
much larger than. Therefore, the sustain time obtained by this is relatively long. As described above, the capacitor 162 suddenly rises at the same time as the sound starts,
Immediately thereafter, a percussive envelope waveform voltage that gradually attenuates is obtained and is applied to line 161.

When the sound is quickly turned off, the signal DS latched by the latch circuit 154 becomes "1" and the FET 165 is turned on. As a result, the capacitor 162 is rapidly discharged via the resistor r3, and the envelope waveform rapidly disappears. The sound source signal whose amplitude has been controlled according to the envelope waveform on the line 161 is sent to the waveform selector 1 from the waveform memories 158 to 160.
66.

The waveform selector 1 66 outputs timbre selection signals M, MD,
BJ, GT' in a prescribed manner (or in a prescribed combination)
Select the sound source signal. The output of the waveform selector 166 is mixed with the outputs of the waveform selectors 166 of other channels ch2 to ch7 and supplied to the tone circuit 18 (FIG. 1). Repeat Modulation Control Section FIG. 7 is a diagram showing details of the repeat modulation control section 16.

In the same figure, a key-on memory section 275 is for storing whether or not any key is pressed on the keyboard. The twin mallet sound channel designation circuit 276 is
This is a circuit for specifying the channel that should produce a twin mallet sound. The repeat control circuit 277 is a circuit for setting and controlling the repetition time interval of repeat sounds in effects that generate repeat sounds, such as the twin mallet effect or the banjo repeat effect. The signal generation logic 278 is a logic for generating the key-on signal KO2S and the decay signal DS. In the key-on memory unit 275, an AND circuit 279 is supplied with a signal SPT (see FIG.
) is supplied from the timing signal generation circuit 26 of FIG. 3, and the first key-on signal KOI from the latch circuit 34 (FIG. 3) is input to the other input of the circuit 279.

Further, the signal CL1 (FIG. 4i) output from the delay flip-flop 126 in FIG. 3 is applied to the AND circuit 28i via the inverter 280. When the CLI becomes "1" in the key information processing cycle (time slots "3" to "5" at the beginning of time slots "1" to "54"), the AND circuit 281 becomes inactive and the delay flip-flop 282's self-hold is released.

The output of the delay flip-flop 282 driven by the two-phase clock pulses K^, B (FIG. 4 e, f) is self-held via an AND circuit 281 and an OR circuit 283.

At time slot "6", the signal SPT becomes "1" (see FIG. 4e) and the AND circuit 279 becomes operational. During this period, when the key-on signal KOI is generated, the signal KOI is stored in the delay flip-flop 282 from the AND circuit 279 through the OR circuit 283. That is, if even one key is pressed on the keyboard, the first key-on signal KOI is generated while the signal SPT is being generated, and this is stored in the delay flip-flop 282. The output of delay flip-flop 282 is applied to latch circuit 284 and converted to DC.

The AND circuit 2 is connected to the strobe input S of the latch circuit 284.
85 outputs are added. The signal CLI and the clock pulse 3Y1 (FIG. 4d) are input to this AND circuit 285. Therefore, the storage signal of the delay flip-flop 282 immediately before being cleared at the timing of the signal CLI is latched into the latch circuit 284. Taking a closer look at time slots ``3'', ``4'', and ``5'' (Fig. 4) where signal CLI occurs, first, time slot ``4'' where pulse 3YI occurs.
'', the storage signal of delay flip-flop 282 is latched into latch circuit 284. Next, in time slot "5" where a pulse is generated, the AND circuit 281
A "0" from the delay flip-flop 282 is read into the delay flip-flop 282, and the memory of the flip-flop 282 is cleared.
In the next time slot "6", a pulse B is generated and the cleared content "0" of the delay flip-flop 282 is read out. If any key is being pressed on the keyboard, the output SAKO of the latch circuit 284 is always "1".

This SAKO is called any key on signal. The output of the AND circuit 279 represents the timing of the channel to which the key being pressed is assigned (FIG. 4h). The output of this AND circuit 279 is used as the key-on channel signal KOCH.
That's what it means. The signal KOCH is input to AND circuits 286 and 287 of the twin mallet sound generation channel designation circuit 276. Any-key-on signal SAKO output from latch circuit 284 is inverted by inverter 288, and the inverted signal SAKO is supplied to signal generation logic 278 and repeat control circuit 277.

In the signal generation logic 278, the AND circuit 29 receives the second key-on signal KO2 supplied from the latch circuit 34 in FIG. is input.

Other inputs of the AND circuit 290 include the timbre selection section 1 in FIG.
The guitar selection signal GT is added from 7, and the AND circuit 297
A banjo selection signal BJ is added to the other input. Further, a twin mallet selection signal TM is applied to the AND circuit 296. The other input of this AND circuit 296 is the AND circuit 2 of the twin mallet sound channel designation circuit 276.
A signal output from 86 is added. AND circuit 290,
The outputs of 296 and 297 reach an AND circuit 294 via an OR circuit 295. The other input of the AND circuit 294 is a repeat key-on signal RK from the repeat control circuit 277.
02 is given. The output of this AND circuit 294 is supplied as a key-on signal KO2S to the launch circuit 154 (FIG. 6) of the tone generating circuit 15. In addition, the inverted signal SAKO of the any key-on signal SAKO is the decay signal DS.
The signal is also supplied to the latch circuit 154. Therefore,
A decay signal DS is generated when no keys are pressed on the keyboard. The twin mallet sound generation channel designation circuit 276 includes a multiple key press detection circuit 300.

Multiple key press detection circuit 30, delay flip-flop 30
4. Latch circuit 305, AND circuit 287, 308, 3
09, an OR circuit 307, etc., and detects whether or not a plurality of keys are pressed simultaneously based on the key-on channel signal KOCH and the highest tone channel detection signal TCH. The highest tone channel detection signal TCH supplied from the highest tone detection circuit 28 shown in FIG. 5 is applied to the inverter 306, and the output of the inverter 306 is applied to the AND circuit 287. Since the signal TCH becomes "1" at the timing of the channel to which the highest tone is assigned, the output of the inverter 306 which inverts it becomes "1" at the timing of the channels other than the highest tone. Since the key-on channel signal KOCH is added to the other input of the AND circuit 287, the output of the AND circuit 287 becomes "1" in response to the timing of the channel other than the highest note and the key being pressed. becomes. The fact that there is a channel other than the highest note and a key is pressed means that two or more keys are pressed. Therefore, when two or more keys are pressed on the keyboard, "1" is stored in the delay flip-flop 304 via the AND circuit 287 and the OR circuit 307. When signal CLI is generated, AND circuit 308 becomes inactive and the memory of delay flip-flop 304 is cleared. The storage signal of this delay flip-flop 304 is latched into a latch circuit 305. The output of the AND circuit 309 is applied to the strobe input S of the latch circuit 305 . This AND circuit 30
Signal CLI and pulse 3YI are input to signal 9. The output MKO of the latch circuit 305 is always "1" when two or more keys are pressed on the keyboard. Output MK of latch circuit 305
O is added to AND circuit 3101. The output signal RPT of the AND circuit 310 is applied to the exclusive OR circuit 311. The highest tone channel detection signal TCH is applied to the other input of the exclusive OR circuit 311, and its output is applied to the AND circuit 286. Repeat control circuit 277 includes a tempo oscillator 312 and a 6-bit counter 313 that counts this oscillation clock TCL.

The oscillation frequency of the oscillator 312 can be adjusted by a variable resistor 314. A variable frequency dividing circuit is configured by the counter 313 and logic (AND circuits 316, 323, OR circuits 317, 319, NOR circuit 322) into which the count output of the counter 313 is input.

The outputs CHG and RK02 of this variable frequency divider circuit have slightly different generation timings, but have the same repetition frequency. The frequency division ratio of this variable frequency dividing circuit is switched according to the tone selected by the electronic musical instrument (by the tone color selection section 17). Specifically, the frequency division ratio is switched in two ways depending on whether twin mallets (marimba or mandolin) are selected. This frequency division ratio corresponds to the modulation rate of the repeat effect. A modulation rate (that is, a frequency division ratio) corresponding to a repeat effect, that is, a twin mallet effect, by marimba or mandolin tone is preset in an AND circuit 316. The modulation rate (that is, the frequency division ratio) corresponding to the repeat effect of the banjo tone is AND circuit 3.
23 is preset. First, I will explain about twin mallets.

"Twin mallet" is a beat effect in which the notes of different keys are repeatedly sounded alternately, and the mode of the alternating sound is as follows.
There are three options depending on the number of keys pressed:

■ If two keys are pressed at the same time, the musical tones corresponding to each pressed key are alternately and repeatedly produced. ■ If three or more keys are pressed at the same time, the highest note among the pressed keys and the simultaneous generation of all the remaining notes are alternately repeated.

■ If only one key is pressed, the sound of that key will be sounded repeatedly.

AND circuit 316 for modulation rate setting for twin mallets
The outputs Q1, Q2, Q3, Q4, Q of the counter 313 are
5, Q6 and the twin mallet selection signal TM are input.

Therefore, when the twin mallet is selected, the condition of the AND circuit 316 is satisfied every time the value of the counter 313 becomes "100001" (32 for a 1G ship). The output of this AND circuit 316 is applied via an OR circuit 317 to a count input T of a flip-flop 318, and further applied to a set input S of each bit of a counter 313 via an OR circuit 319. Therefore, in the case of twin mallets, when the value of the counter 313 reaches "10000r", the counter 313 is set to "11111r".

Since the counter 313 counts the clock TCL with this "111111" as the initial value, the clock TCL
Every time 33 counts, "1" (CHG) is generated via the AND circuit 316 and the OR circuit 317. That is, the frequency division ratio by the force counter 313 is set to the reverse. Outputs Q2, Q3, Q4, Q5, and Q6 of the counter 313 are applied to a NOR circuit 322, and this output becomes the repeat key-on signal RK02. The NOR circuit 322 is a counter 313
When the outputs Q2 to Q6 of are all "0", it outputs "1". That is, the value of the counter 313 is “00000 (
When the value of the counter 313 is 0) or 00000r (1 of IG Hayabusa), the signal RK02 is generated from the NOR circuit 322. When the value of the counter 313 reaches 10000r, the count value is set to 11111r, and then the first pulse T
When CL is applied, it changes to "000000" and changes to "000001" by the next pulse TCL.

In this way, since "00000 and "00000r are generated successively, a signal RK02 having a width of two periods of the clock pulse TCL is obtained from the NOR circuit 322.
The frequency of this repeat key-on signal RK02 is . This is the back side of the back pulse TCL. The output QRPT of the flip-flop 318 changes from "0" to "1" or from "1" to "0" every time "1" (CHG) is generated from the OR circuit 317.
The relationship between the signals CHG, QRPT, and RK02 is shown schematically in FIG. 1”, which resets the flip-flop 318 and outputs the OR circuit 31.
9, the counter 313 is set to an initial value, and the oscillation of the tempo oscillator 312 is prohibited. Next, each of the three aspects of the twin mallet will be explained.

■ When two keys are pressed at the same time.

In this case as well, the output signal MKO of the multiple key press detection circuit 300 indicating that two or more keys are pressed is "1", and the AND circuit 310 becomes operable.

Therefore, the output QRPT of the flip-flop 318 passes through the AND circuit 310, and the output RPT of the circuit 310 alternately repeats "1" and "0" like QRPT shown in FIG. The output of the exclusive OR circuit 311 becomes "1" at the timing of generation of the signal TCH when the signal RPT (ie, QRPT) is "0". Further, when the signal RPT (that is, QRPT) is "1", the output of the exclusive OR circuit 311 becomes "1" when the signal TCH is not generated (TCH="0"). Note that in some channels where the signal TCH is not generated, the key is not pressed.
For this purpose, the AND circuit 286 is gated with the key-on channel signal KOCH, and the exclusive OR circuit 311 is generated at the timing of the channel to which the key being pressed on the keyboard is assigned.
The AND circuit 286 selects only the output "1". Therefore, while the signal QRPT is "0", the output of the AND circuit 286 becomes "1" at the timing of the channel to which the higher key (highest tone) of the two pressed keys is assigned, which indicates twin mallet selection. Signal T
The AND circuit 294 is reached through an AND circuit 296 and an OR circuit 295, which are enabled by M.

As a result, in response to the repeat key-on signal RK02 generated when the signal QRPT is "0", the key-on signal KO2S is generated in a time-sharing manner at the timing of the channel to which the highest tone is assigned. Next, the signal QRP
When T switches to "1", the output of the AND circuit 286 becomes "1" at the timing of the channel to which the lower key is assigned.

Therefore, while the second beat key-on signal RK02 is being generated, the key-on signal KO2S is generated in a time-division manner at the timing of the channel to which the lower tone is assigned. Channel where signal KO2S is generated (
musical tone generation circuit 15 (one of chl to ch7)
In FIG. 6), this key-on signal KO2S is converted into DC by the latch circuit 154 and used for gate control of the FET 163.

Therefore, the percussive envelope waveform that charges during the generation time of signal RK02 and then gradually discharges is line 16.
1 can be obtained repeatedly. In the resistor voltage divider circuits of the waveform memories 158 to 160, opening/closing control (amplitude modulation) of musical tones is performed in accordance with the repeatedly generated envelope waveform of line 161. For example, if the higher note (highest note) of the two keys is assigned to channel ch2, the signal QRPT will be “0”.
”, a musical tone is generated from channel ch2 of the musical tone generating circuit 15.

Assuming that the lower key is assigned to channel chi, when signal QRPT is "1", channel chi
Musical sounds are generated from. As described above, two different tones are repeatedly sounded alternately. ■ If three or more keys are pressed. When the signal QRPT is "0", a key-on signal KO2S is generated corresponding to the channel of the highest tone TCH,
As described above, the musical tone (highest note) is produced from the channel.

When the signal QRPT is "1", the output of the exclusive OR circuit 311 is "1" corresponding to the channel where the signal TCH is "0".
becomes. Therefore, in that case, the output of the AND circuit 286 becomes "1" in accordance with the timing of the channels to which all the remaining pressed keys except the highest note are assigned. As a result, during the generation time period of the repeat key-on signal RK02 that is generated when the signal QRPT is "1", the key-on signal RK02, which is generated when the signal QRPT is "1", corresponds to the multiple channels to which multiple pressed keys other than the highest note are respectively assigned. The key-on signal KO2S is generated in a time-division manner. These key-on signals KO2S are
own channel c by control pulses SPI to SP7
The signals are distributed to latch circuits 154 (FIG. 6) in the tone generating circuit 15 corresponding to hi to ch7, respectively. Then, in those channels, sounds corresponding to a plurality of pressed keys other than the highest key are generated simultaneously. In this manner, the generation of the highest note and the simultaneous generation of all pressed keys other than the highest note are alternately repeated. ■ When only one key is pressed on the keyboard.

The signal MKO indicating that two or more keys are pressed is "0", and the AND circuit 310 becomes inoperable.

Therefore, signal RPT is always "0".

The highest channel detection signal TC corresponds to the timing of the channel to which the only key being pressed is assigned.
H becomes "1". Therefore, the output of the exclusive OR circuit 311 becomes "1" corresponding to the generation timing of the signal TCH, that is, the channel assigned to the only pressed key. At the timing of this channel, the key-on channel signal KOCH
Since the output of the exclusive OR circuit 311 becomes "1", the AND circuit 286 outputs "1" in response to the output "1" of the exclusive OR circuit 311. The output "1" of this AND circuit 286 is output from the AND circuit 296 which is enabled to operate by the twin mallet selection signal TM.
and an AND circuit 294 via an OR circuit 295.
The signal applied from this OR circuit 295 to the AND circuit 294 becomes "1" on a time-division basis in accordance with the timing of the channel to which the only pressed key is assigned. This time-division channel signal is selected by the AND circuit 294 when the repeat key-on signal RK02 is generated, and the key-on signal KO2S is generated in a time-division manner. This key-on signal K
O2S selects the channel to which the pressed key is assigned.
latch circuit 15 corresponding to any one of i to Ch7)
4 (FIG. 6). Therefore, in this channel, a percussive envelope musical tone is generated every time the repeat key-on signal RK02 is generated, and the tone of the only pressed key is repeatedly sounded. Next, I will explain "Banjo Repeat".

When the banjo tone is selected, the simultaneous sound production of key press sounds is repeated at desired time intervals.

When the banjo is selected, the twin mallet selection signal TM is "0", and the band circuit 316 of the repeat control circuit 277 does not operate. Instead, AND circuit 323 operates. The AND circuit 323 has a counter 31
3 outputs Q1, Q2, Q3, Q4, Q5, and Q6 are input. Therefore, the count value is “10101r(10
When the number is 42), “1” is output from the AND circuit 323 and input to the OR circuit 317. If the twin mallet is selected, the counter 313 will be "
Since the number increases only up to "32", "1" is never output from the AND circuit 323. When “1” is output from the OR circuit 317, the counter 31
3 is set to “11111r.

Also, as described above, the count value is “000000”
and "00000r", the key-on signal RK02 for repeat is generated from the /A circuit 322.When using a twin mallet, the counter 313 operates at modulo 33, but at other times (when banjo repeat), it operates at modulo 43. (In other words, the frequency division ratio is set backwards.) Therefore, the repeat key-on signal RK02 is generated every 43 counts, and the repeat time is longer (the modulation rate is slower) than with the twin mallet.Banjo (BJ)
) is selected, the AND circuit 297 of the signal generation logic 278 becomes operational, and the first key-on signal K
OI is applied to the AND circuit 294 via the AND circuit 297 and the OR circuit 295.

The first key-on signal KOI of each channel is selected during the generation time period of the repeat key-on signal RK02, and the musical tone generating circuit 15 (see FIG. 1) is selected as the key-on signal KO2S.
Figure 6). And control pulse SPI~S
P7 distributes key-on signals KO1 and KO2S to each channel Chi to ch7. In this way, each time the repeat key-on signal RK02 is generated, the musical sound signal of the berkusive envelope (attenuated sound) is transmitted to each channel chi.
-ch7 (however, only to the channel to which the pressed key is assigned) are generated simultaneously from the musical tone generating circuit 15. Simultaneous generation of a plurality of tones is repeated. As described above, the modulation rate of the repeat sound is automatically switched depending on the tone color.

Here, when the variable resistor 314 of the tempo oscillator 312 is operated to change the frequency of the oscillation clock TCL, the modulation rates corresponding to each tone are variably controlled while maintaining different relationships (ratios). Incidentally, in the twin mallet effect, the modulation rates of marimba and mandolin may be made different. (Other Embodiments) FIG. 9 is a diagram showing another embodiment of the present invention, in which the present invention is applied to an analog electronic musical instrument.

Square wave sound source signals corresponding to the musical tone frequencies of the individual keys are generated in parallel from the frequency-dividing tone generator 330 and supplied to the opening/closing circuit 331 . In the opening/closing circuit 331, the keyboard 3
The sound source signal corresponding to the key pressed at 32 is selected and supplied to the tone circuit 333. The tone color selection switch 334 allows selection of marimba (MR), mandolin (MD), and banjo (BJ), and its output is supplied to the tone color circuit 333 via the priority circuit 335.

Furthermore, the marimba selection signal M outputted from the priority circuit 335 is sent to an AND circuit 336 for modulation rate presetting.
The mandolin selection signal MD is supplied to an AND circuit 337, and the banjo selection signal BJ is supplied to an AND circuit 338. The output clock pulse TCL of the oscillator frequency adjustable tempo oscillator 339 is applied to the count input T of the force counter 340.

Count outputs Q2 and Q6 of the counter 340 are sent to an AND circuit 336, Q3 and Q6 are sent to an AND circuit 337, and Q1, Q
3, Q4, and Q5 are supplied to an AND circuit 338, respectively.
The outputs of the AND circuits 336 to 338 are supplied via an OR circuit 341 to an envelope waveform generation circuit 342 and a delay flip-flop 343 as a repeat key-on signal RKO. The delay flip-flop 343 is driven by a clock pulse TCL, and when the signal RKO is generated, a signal "1" is applied to the reset input R of the counter 340 one clock TCL after the signal RKO is generated, and the counter 340 is reset. Signal MR, MD, BJ
One AND circuit (336 to 3
When the condition (one of 38) is satisfied at a predetermined count value, a repeat key-on signal RKO is generated, the counter 340 is reset, and the counter 34 repeats counting from 0 to the predetermined count value. .

Depending on the count value set in each AND circuit 336 to 3381, the division ratio of the clock pulse TCL,
In other words, the modulation rate of the repeat sound is determined. Marimba (
MR), the set count value is “100010” (
1G Hayabusa's 32) and "counter 340'ma module.

33, which means it is a bunkyakutsuru).

The modulo number is 1 greater than the set count value, and the reason is "
The reset timing of counter 34Q is 1 clock TC.
This is because L will be delayed. In the case of mandolin (MD), the set count value is ``loo10bi (1 only 36)''.
There is a division ratio. In the case of a banjo, the set count value is "011101" (29 of 15), and the frequency division ratio is millet. Therefore, the repeat key-on signal RKO is
It is generated repeatedly at different rates depending on the selected tone.

The envelope waveform generation circuit 342 generates a key-on signal RK.
Generates a percussive envelope waveform every time O is applied. The amplitude modulation circuit 344 amplitude-modulates the tone-added musical tone signal supplied from the timbre circuit 333 with a percussive envelope waveform repeatedly supplied (every time an RKO occurs) from the envelope waveform generation circuit 342.
Adds repeat effect. The amplitude modulated (repeat modulated) musical tone signal reaches a sound system 345. As explained above, according to the present invention, the modulation rate of the modulation effect is automatically switched according to the timbre, so it is possible to easily obtain a desirable modulation effect corresponding to each timbre. Since each modulation rate can be manually adjusted without changing the relative relationship between the modulation rates, the modulation effect desired by the performer can be obtained.

[Brief explanation of the drawing]

FIG. 1 is a block diagram of the entire configuration of an electronic musical instrument showing an embodiment of the present invention, and FIG. 2 is a diagram showing, for each time slot, the contents of data sent out in a time-division manner from the data multiplexing circuit of FIG. 1. , FIG. 3 is a detailed circuit diagram showing an example of the demodulation circuit and timing signal generation circuit of FIG. 1, FIG. 4 is a timing chart showing examples of generation of various signals in FIG. 3, and FIG.
The figure is a detailed circuit diagram showing an example of the highest pitch detection circuit in Figure 1.
FIG. 6 is a block diagram showing an example of the musical tone generation circuit of FIG. 1 for one channel, FIG. 7 is a detailed circuit diagram showing an example of the IJ beat modulation control section of FIG. 1, and FIG. FIG. 9 is a timing chart illustrating the control for the twin mallet effect in FIG. 15...Music tone generation circuit, 16...Repeat modulation control unit, 17...Tone selection unit 19...
... Tone selection switch, 277 ... Repeat control circuit, 312 ... Tempo oscillator, 313 ... Counter. Figure 1 Figure 2 Figure 3 Figure 4 Figure 5 Figure 6 Figure 7 Figure 8 Figure 9

Claims (1)

[Scope of Claims] 1. An electronic musical instrument that repeatedly modulates a musical tone in response to a repeatedly generated modulation signal, comprising: timbre selection means for selecting a desired timbre from a plurality of timbres; and a timbre selection means corresponding to each of the plurality of timbres. a modulation rate is set in advance, and has a modulation rate setting means for selecting and specifying a predetermined modulation rate in conjunction with the timbre selection in the timbre selection means; a clock signal generating means for generating a clock signal with a frequency corresponding to an operating state;
modulation signal generation means for repeatedly generating the modulation signal at a modulation rate selected and specified by the modulation rate setting means and at a period corresponding to the frequency of the clock signal generated from the clock signal generation means; Modulation of an electronic musical instrument, characterized in that the modulation rate can be switched according to the tone color, and each modulation rate can be manually adjusted without changing the relative relationship between the modulation rates set between each tone color. effect circuit. 2. The modulation rate setting means sets the modulation rate using a frequency division ratio, and the modulation signal generation means divides the frequency of the clock signal according to the frequency division ratio selected and specified by the modulation rate setting means. 2. The modulation effect circuit for an electronic musical instrument according to claim 1, further comprising a frequency dividing circuit, and generating the modulation signal based on the frequency divided output of the frequency dividing circuit.