EP0042555B1 - Méthode de contrôle digital de l'enveloppe dans un instrument de synthèse musicale polyphonique, et circuits pour mettre en oeuvre cette méthode - Google Patents

Méthode de contrôle digital de l'enveloppe dans un instrument de synthèse musicale polyphonique, et circuits pour mettre en oeuvre cette méthode Download PDF

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Publication number
EP0042555B1
EP0042555B1 EP81104526A EP81104526A EP0042555B1 EP 0042555 B1 EP0042555 B1 EP 0042555B1 EP 81104526 A EP81104526 A EP 81104526A EP 81104526 A EP81104526 A EP 81104526A EP 0042555 B1 EP0042555 B1 EP 0042555B1
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European Patent Office
Prior art keywords
envelope
memory
read
address
curve
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Expired
Application number
EP81104526A
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German (de)
English (en)
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EP0042555A1 (fr
Inventor
Christian Jacques Dipl.-Ing. Deforeit
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Matth Hohner AG
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Matth Hohner AG
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Priority to AT81104526T priority Critical patent/ATE7428T1/de
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    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H1/00—Details of electrophonic musical instruments
    • G10H1/02—Means for controlling the tone frequencies, e.g. attack or decay; Means for producing special musical effects, e.g. vibratos or glissandos
    • G10H1/04—Means for controlling the tone frequencies, e.g. attack or decay; Means for producing special musical effects, e.g. vibratos or glissandos by additional modulation
    • G10H1/053—Means for controlling the tone frequencies, e.g. attack or decay; Means for producing special musical effects, e.g. vibratos or glissandos by additional modulation during execution only
    • G10H1/057—Means for controlling the tone frequencies, e.g. attack or decay; Means for producing special musical effects, e.g. vibratos or glissandos by additional modulation during execution only by envelope-forming circuits
    • G10H1/0575—Means for controlling the tone frequencies, e.g. attack or decay; Means for producing special musical effects, e.g. vibratos or glissandos by additional modulation during execution only by envelope-forming circuits using a data store from which the envelope is synthesized

Definitions

  • the invention relates to a method for digital envelope control of a polyphonic music synthesis instrument and a circuit arrangement for carrying out the method.
  • Digitally operating electronic musical instruments so-called music synthesis instruments, are known and described, for example, in FR-A No. 7915337 and No. 8003892. They are based on the principle of synthesizing the frequencies to be heard by scanning phase counters and integrating the output pulses. This allows the audible frequencies to be generated polyphonically, although it can be assumed that eight tones can be played on the instrument at the same time. Sound is understood to mean a single fundamental frequency plus the harmonic content which is typical of a traditional musical instrument to be simulated, for example.
  • the harmonic component can include up to eight or even ten harmonics, and the individual frequencies are to be referred to here and below as single tones. A tone with five harmonic components accordingly comprises six single tones.
  • the harmonic content is not the only criterion to be taken into account.
  • the course of the envelope curve is equally significant, ie the attack and decay, which in turn is typical of individual traditional musical instruments to be simulated; there are not only characteristic amplitude transitions, but also frequency variations, for example the typical vibrato in stringed instruments.
  • a music synthesis instrument should therefore be able to generate up to 200 and more different envelopes at the same time in order to realize all misical possibilities and desires.
  • an envelope is generated for the attack and decay of only a single tone, while the other single tones played at the same time remain unaffected in terms of amplitude and frequency.
  • the number of envelope circuits is multiplied accordingly.
  • the object of the present invention is to enable the simulation of such a process in a method according to the preamble of patent claim 1.
  • the invention also relates to a circuit arrangement which enables the method to be carried out using relatively simple means.
  • the characterizing part of claim 1 or claim 4 names the features provided according to the invention for solving this problem.
  • a single tone is of course a sine wave; a tone consisting of a fundamental vibration (single tron) and harmonics then has rectangular, triangular or other pulse shapes, which are not discussed here; rather, only the change in the respective peak amplitude is shown in the diagrams.
  • the pitching and decaying of a tone normally follows an exponential function, since it is a matter of simulating settling processes that can take place periodically (vibraphone) or aperiodically.
  • the envelopes that are shown and to be generated have nothing to do with the volume that the player may be able to change at will, which would rather change the ordinate scale of the diagrams.
  • Fig. 1 a The simplest case is shown in Fig. 1 a. From time A onwards, the amplitude increases, following an exponential function in the aperiodic limit case, that is to say in accordance with a first envelope curve A, up to the maximum amplitude H. The amplitude remains at this value until time R, from which the amplitude, again following an aperiodic exponential profile of the envelope R, drops to zero.
  • A, and R may be mirror images similar, they are stored separately in read-only memory.
  • Diagram 1b shows the case in which the memory already triggers the end command before the attack envelope has been run through to the nominal value H of the amplitude.
  • the result is a shortened attack envelope A 2 , which may not, however, be followed by the retardation envelope R, since this would result in a jump in amplitude. Rather, the envelope curve A 2 must pass at least approximately exactly into a correspondingly shortened decay envelope curve R 2 . How this is done will be explained below.
  • 1 c shows an attack envelope A 3 , as is typical for a piano: the amplitude jumps to a maximum value and then drops according to an exponential function. When the player releases the piano key, the vibration is damped and curve A 3 must transition to the decay envelope R 3 without an amplitude jump. This is a special case of diagram 1 b.
  • FIG. 1 e Another form of the envelope curve A 6 with overshoot is shown in Fig. 1 e; this course is typical of brass.
  • Fig. 1g finally shows a decay envelope form A s , which actually consists of the repeated repetition of one and the same curve form, which can be recognized as A 3 with a shortened time scale.
  • the circuit arrangement shown in FIG. 4 makes it possible to actually save only the curve shape A 3 and to repeat it several times.
  • This attack envelope occurs, for example, with instruments such as mandolin or banjo.
  • the associated decay envelope R 6 is the extension of the decay envelope A 6 to zero, starting from the amplitude value reached at R in each case.
  • FIGS. 2a to 2d represent the audio frequency in its temporal course.
  • the same applies analogously to what was already stated for the scales in FIG. 1; it also applies here that the externally specified time scales can be used to call up the frequency swings recorded in the read-only memory at one and the same memory address.
  • FIG. 2a shows an attack envelope A 7 , in which the frequency f oscillates with a gradually increasing stroke around a carrier frequency f o . After a maximum stroke f max has been reached , the process is repeated as long as the sound is stored: so-called normal delayed vibrato. As will be explained with reference to FIG. 4, it is also possible in this case to implement this envelope repetition with simple circuit measures.
  • FIG. 2b shows an envelope curve A 8 typical for guitars: starting from a frequency which is slightly too high compared to the nominal frequency f o , this gradually falls to the value f o , which is followed by a similar curve as shown in FIG. 2a.
  • 2c shows the approximately reversed course A 9 of the frequency when blowing on a brass instrument.
  • FIG. 2d finally shows the chorus effect, that is to say the simultaneous sounding A of several nominally identical, but in reality slightly slightly detuned vibrations.
  • FIG. 3 shows, as three examples, further possible effects.
  • FIG. 3a shows the so-called Lesley effect which arises when a loudspeaker is driven to circulate. The listener then has the impression that the frequency oscillates around the nominal frequency with a stroke f L in the sine curve.
  • this effect can also be brought about by means of envelope control, in that two audio channels are controlled with a 180 ° phase shift and the frequency deviation f L is introduced as a frequency modulation envelope. Envelope repetition is also possible with the circuit arrangement according to FIG. 4.
  • FIG. 3b shows that this Lesley effect can also be implemented in a time-variable manner in accordance with the simulated start-up and run-down of a rotating loudspeaker, the frequency deviation F L also having to be varied.
  • the harmony of several stringed instruments for example several guitars or a piano, in which several keys are assigned to each key, can be simulated by introducing a phase shift of 120 ° for the frequency modulation of each individual tone.
  • This is also with the envelope control according to the Erfin to implement, again using the envelope repetition technique.
  • Fig. 4 shows a block diagram of a circuit arrangement with which the method according to the invention can be carried out. It is assumed that there is a music synthesis instrument, for example according to the FR-A mentioned at the outset, with circuits in which a phase counter block is assigned to each individual tone and digital signals AM P or FRE can determine the respective envelope of the respective individual block with regard to amplitude or frequency.
  • the single tone blocks work in time multiplex.
  • the signals generated by the circuit arrangement according to the invention include the number of the synthesis block in question (ie its address) and the envelope data AMP / FRE to be transmitted to this block (this address).
  • Known parts of a music synthesis instrument are also provided on the input side of the circuit arrangement according to the invention, namely the operating elements for the player, such as manuals, pedals, switches, buttons, register adjusters and so on, as well as coding circles which result from the switch positions effected by these elements form associated control signals.
  • the control signals are transmitted directly to the synthesis blocks, they can be disregarded here since they are not essential to the invention.
  • the signals that are to be supplied to the envelope control according to the invention must be explained.
  • each random memory has 256 memory locations, all of which have homologous addresses.
  • the addresses are the numbers of the corresponding sound synthesis circuit blocks.
  • the four-microsecond cycle was determined in consideration of the fact that for a musically satisfactory envelope curve development, an envelope curve sample value has to be recalculated approximately every millisecond; this means that the 256 memory locations of the random memories should all be addressed once within this millisecond. This is almost achieved with four microseconds. With modern circuit components, this clock will be regarded as relatively slow.
  • the addresses (AD) or the addresses output by the counter 18 run via a multiplexer 21 which has a control input SE. It must be avoided that data is entered simultaneously because of AD and data is called up because of the counter addressing. For this reason, a comparator 22 generates a BUSY signal for signals coming simultaneously from the counter 18 and from AD, which then blocks the multiplexer 21 for counter addressing via the control logic unit 20.
  • the binary words which have been entered as INT are stored in the random access memory 10.
  • the random addresses 12 store the current addresses of envelope sample values stored in a read-only memory 24, specifically in the section HK-CT indicated on the left, where the address amounts of the read-only memory are renewed to the left of the comma.
  • the address fractions of the read-only memory are continuously adjusted to the right of the comma.
  • this desired real-time is stored in random memory 10 in the form of an address fraction, that is to say as a complement.
  • the envelope should last twice as long as the number of samples in the read-only memory on the one hand and the number of samples in the read-only memory on the other hand, the next sample is not called up for the next address pulse for this memory location, but only for the next but one, and so on .
  • the circuit naturally works in the binary system, it is more descriptive to illustrate this sequence with decimal numbers.
  • the fractional part 0.25 is stored in the random access memory 10, which according to the above means that the envelope curve should last four times longer than normal.
  • this variable is fed to an arithmetic logic unit 26 as an input. Its other input is the current value of HK-BR in the random access memory 12.
  • the logic unit adds the fractional values, and the result of the addition is again entered as content into the random access memory 12 via the multiplexer 28, where to the right of the comma one by one from the random access memory 10 extracted value, a larger fraction is registered.
  • the addresses of the envelope curve samples in the fixed value memory 24, however, are integers.
  • the next address for the read-only memory - in section HK-BR of the random access memory 12 - will only appear after the address 18 has been addressed four times, which means that a changed sample value is only called up from the read-only memory after about four milliseconds , this is then called up four times in succession, only then the new address value is entered and so on.
  • the start address of the read-only memory, under which the start of the envelope in question is stored, is of course first entered into the random access memory 12 (signal H K-IN), specifically via the multiplexer 28 under the control of the MU by the control logic unit 20, which in turn is based on the MAN signal reacts.
  • the multiplexer 28 is designed as a three-channel multiplexer. In fact, read-only memory addresses can be input back to the HK-BR section of the random access memory 12 from the read-only memory 24 itself.
  • the read-only memory 24 is addressed and gives on the line 32
  • the stored data have the meaning of a read-only memory address if they are transmitted to line memory 34 via line branch 34 and via multiplexer 28.
  • the read-only values in read-only memory 24 are the envelope curve or - in the case of frequency modulation - the modulation stroke values.
  • a signal EN is also output when an envelope has been completely called up from the read-only memory; this end signal causes the logic unit 20 to delete the memory locations at the relevant address, after which - depending on the level of MAN - either the unmodulated tone continues to sound or the relevant single tone is no longer generated.
  • unmodulated only relates to envelope modulation introduced by the circuit of FIG. 4; elsewhere in the overall circuit, other modulation of a continuous tone can also be carried out.
  • this envelope data is fed to a two's complement binary adder 38.
  • the envelope data are unsigned sample values in the case of pure amplitude modulation, and signed stroke values in the case of frequency modulation. Since the addition circuit 38 is signaled via line 40 whether frequency modulation is present or not - the associated carrier frequencies f o for each of the 256 envelopes to be generated (FR-IN) or zero, if only amplitude modulation is required, appear in the random access memory 16 at its output the envelope values belonging to the respective single tone. These are to be fed to the amplitude modulation or frequency modulation blocks of the synthesis circuit. The assignment is carried out by the control logic unit 20, to which a signal AM is then supplied via a gate 42 only when it is about amplitude modulation.
  • the last sample value of the terminating envelope curve must therefore be recorded and that memory location of the continuing envelope curve must be sought in the read-only memory 24 where an at least approximately the same sample value is present; the associated address must then be entered as the starting address in the random access memory 12.
  • the circuit arrangement according to FIG. 4 has the random memory 14, in which the current sample value VL, which is present after the adding circuit 38, is written for the memory location addressed in each case by counter 18.
  • the same value VL is at an input of a comparator 50, at the other input of which is the immediately preceding value VL ', which is called up from the corresponding memory location when addressed by counter 18.
  • the comparator delivers a logic signal at its output, here designated VLK, as long as the later sample value VL is smaller than the previous sample value VL '. This logic signal is fed to the control logic unit 20.
  • the control logic unit only requires this information at the point in time when a jump in the MAN signal signals that a new envelope is required. It is initially assumed that a decay envelope is to be terminated by changing the MAN from 1 to zero and to continue with a decay envelope. HK-IN then enters the associated read-only memory address, under which - as the initial sample value of an attack envelope - the sample value zero is called up. This appears after adding circuit 38 as a new value VL. However, since the word VL 'previously stored in random storage 14 originates from the aborted decay envelope and is therefore larger, the comparator 50 outputs the logic signal VLK.
  • control logic unit 20 This now causes the control logic unit 20 to generate a control logic signal OP, which transmits the command to the arithmetic logic unit 26 to increase the stored address HK-CT of the read-only memory by one.
  • This process is repeated with the system clock until the logic signal VLK changes VLK because the comparator 50 can no longer determine a difference in size.
  • the address H K-CT at this point in time in the random access memory 12 is then the start address of the continuing envelope.
  • the complementary logic level VLK must initiate the catch-up process; the control logic unit 20 can make this distinction because it differentiates between jumps 0-1 and 1-0 for the MAN input.
  • FIGS. 5a and 5b summarize the processes described again.
  • FIG. 5c shows the sequence when clocking counter 18 for the normal case; the associated explanation has already been given above.
  • the organization of the read-only memory 24 is indicated schematically in FIG. 6.
  • the envelope samples are drawn as analog equivalents, although of course they are actually binary words. From top to bottom, the envelope curves of slow response, decay, percussion with repetition and delayed vibrato with repetition are shown as examples.
  • the first bit is the logic signal REp, the second bit the logic signal EN.
  • the dash-dotted arrows in FIG. 6 indicate the address to which, for example, to return.
  • the address at which an envelope curve begins is - as explained above - entered externally as HK-IN.
  • control logic unit can comprise a further read-only memory 60, to which the above-mentioned logic signals are supplied as addresses and which is queried via a sequence register 62, which in turn is switched on by the system clock and into which the logic sequence to be run from the read-only value memory itself is entered.
  • the control signals required by the logic unit are then called up at its addresses.

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  • Engineering & Computer Science (AREA)
  • Acoustics & Sound (AREA)
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  • Electrophonic Musical Instruments (AREA)

Claims (6)

1. Procédé pour engendrer de façon numérique des courbes enveloppes dans un instrument synthétiseur de musique polyphonique comportant une mémoire morte dans laquelle des valeurs d'exploration de courbes enveloppes sont mémorisées à des adresses de courbes enveloppes tandis que les adresses des courbes enveloppes de tous les tons élémentaires sont mémorisée dans des mémoires RAM de courbes qui sont lues séquen- tiellement, après quoi les valeurs d'exploration des courbes enveloppes lues sont transmises à des blocs de modulation du circuit synthétiseur, chaque forme de courbe enveloppe n'étant écrite qu'une seule fois dans la mémoire morte et le temps réel du parcours de l'allure de la courbe enveloppe étant déterminé par raccourcissement ou allongement de la durée de mémoire des adresses correspondantes dans la mémoire RAM contenant des courbes enveloppes, tandis que toutes les cellules de mémoire de la mémoire RAM contenant les courbes enveloppes sont lues au même rythme, caractérisé en ce que la valeur d'exploration lue dans la mémoire morte pour une courbe enveloppe est comparée à la valeur d'exploration lue au cours de la séquence de lecture immédiatement précédente pour former un signal logique et en ce que, lors de l'apparition d'un ordre de changement de courbe enveloppe, on recherche par commande à un rythme rapide de la mémoire RAM contenant les courbes, en qualité d'adresse de début, l'adresse de la mémoire morte de la courbe enveloppe en cours de parcours à laquelle le signal logique complémentaire est engendré.
2. Procédé selon la revendication 1, caractérisé en ce que les adresses de la mémoire morte qui sont mémorisées dans la mémoire RAM contenant les courbes enveloppes sont lues plusieurs fois l'une après l'autre, sous la commande résultant d'un ordre de répétition qui peut être prélevé dans la mémoire elle-même.
3. Procédé selon la revendication 1, caractérisé en ce que, pendant la commande au rythme, la séquence de lecture de la mémoire RAM contenant les courbes enveloppes pour le ton élémentaire considéré est interrompue.
4. Circuit pour la mise en oeuvre du procédé selon la revendication 1, comprenant des mémoires RAM (10, 12, 14, 16) comportant un nombre de cellules de mémoires égal à celui des courbes enveloppes qui doivent être produites simultanément et un compteur d'adresses (18) au moyen duquel toutes les mémoires RAM peuvent être adressées en parallèle avec les blocs synthétiseurs de tons correspondants, caractérisé par une mémoire RAM (14) de valeurs dans laquelle les valeurs d'explorations lues dans la mémoire morte sont introduites et, en même temps, comparées à la valeur d'exploration mémorisée immédiatement avant, au moyen d'un comparateur (50) à la sortie duquel apparaît le signal logique, une unité de commande (20), lors de l'apparition d'un ordre de changement de courbe enveloppe, activant un circuit additionneur (26) qui est destiné à faire croître rapidement par unités entières l'adresse qui se trouve dans la mémoire RAM (12) contenant les courbes enveloppes, jusqu'à ce qu'apparaisse à la sortie du comparateur le signal (VLK) complémentaire du signal logique (VLK).
5. Circuit selon la revendication 4, caractérisé par une mémoire RAM d'intervalles (10) dans laquelle sont chargées des fractions d'adresse des adresses de mémoire morte qui doivent être lues dans la mémoire RAM (12) contenant les courbes enveloppes, ces fractions d'adresse pouvant être complétées pour former des mots d'adresse complets au moyen du circuit additionneur (26) qui peut être commuté dans cette fonction par l'unité logique de commande (20).
6. Dispositif selon la revendication 5, caractérisé par un multiplexeur (28) par l'intermédiaire duquel - sous la commande de signaux de commande (MU) d'une unité de commande (20) - on introduit sélectivement une adresse de début de courbe enveloppe (HK-IN), la valeur d'adresse courante, (HK-CT+HK-BR) fournie par le circuit additionneur (26) ou une adresse de mémoire morte, restituée à partir de la mémoire morte (24), dans la mémoire RAM (12) à courbes enveloppes.
EP81104526A 1980-06-24 1981-06-12 Méthode de contrôle digital de l'enveloppe dans un instrument de synthèse musicale polyphonique, et circuits pour mettre en oeuvre cette méthode Expired EP0042555B1 (fr)

Priority Applications (1)

Application Number Priority Date Filing Date Title
AT81104526T ATE7428T1 (de) 1980-06-24 1981-06-12 Verfahren zur digitalen huellkurvensteuerung eines polyphonen musiksyntheseinstruments und schaltungsanordnung zur durchfuehrung des verfahrens.

Applications Claiming Priority (2)

Application Number Priority Date Filing Date Title
DE3023581 1980-06-24
DE3023581A DE3023581C2 (de) 1980-06-24 1980-06-24 Verfahren zur digitalen Hüllkurvensteuerung eines polyphonen Musiksyntheseinstruments und Schaltungsanordnung zur Durchführung des Verfahrens

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EP0042555A1 EP0042555A1 (fr) 1981-12-30
EP0042555B1 true EP0042555B1 (fr) 1984-05-09

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US (1) US4422363A (fr)
EP (1) EP0042555B1 (fr)
JP (1) JPS5748793A (fr)
AT (1) ATE7428T1 (fr)
DE (2) DE3023581C2 (fr)
SU (1) SU1145940A3 (fr)

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JPS59173097U (ja) * 1983-05-09 1984-11-19 株式会社ケンウッド 楽音合成回路
JPS6022185A (ja) * 1983-07-18 1985-02-04 松下電器産業株式会社 ビブラ−ト信号発生装置
JPS6060693A (ja) * 1983-09-14 1985-04-08 ヤマハ株式会社 電子楽器
JP2642331B2 (ja) * 1984-08-09 1997-08-20 カシオ計算機株式会社 ビブラート付与装置
JPS61128296A (ja) * 1984-11-27 1986-06-16 ヤマハ株式会社 楽音発生装置
JPS61188593A (ja) * 1985-02-18 1986-08-22 カシオ計算機株式会社 タツチレスポンス装置
JPS62186296A (ja) * 1986-02-12 1987-08-14 京王技研工業株式会社 エンベロ−プ発生装置
JPH0720713Y2 (ja) * 1986-08-08 1995-05-15 カシオ計算機株式会社 タッチデータ生成装置
JPH0731501B2 (ja) * 1986-08-08 1995-04-10 カシオ計算機株式会社 タッチデータ生成装置
US5548080A (en) * 1986-11-06 1996-08-20 Casio Computer Co., Ltd. Apparatus for appoximating envelope data and for extracting envelope data from a signal
US5200567A (en) * 1986-11-06 1993-04-06 Casio Computer Co., Ltd. Envelope generating apparatus
US4928569A (en) * 1986-11-15 1990-05-29 Yamaha Corporation Envelope shape generator for tone signal control
JP2525853B2 (ja) * 1988-03-17 1996-08-21 ローランド株式会社 電子楽器の連打処理装置
KR920000764B1 (ko) * 1988-05-18 1992-01-21 삼성전자 주식회사 전자악기의 adsr데이터 출력 제어시스템
US5256831A (en) * 1990-07-10 1993-10-26 Yamaha Corporation Envelope waveform generation apparatus
US20130163787A1 (en) * 2011-12-23 2013-06-27 Nancy Diane Moon Electronically Orbited Speaker System

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US3610799A (en) * 1969-10-30 1971-10-05 North American Rockwell Multiplexing system for selection of notes and voices in an electronic musical instrument
US3930429A (en) * 1973-06-08 1976-01-06 Arp Instruments, Inc. Digital music synthesizer
US4083285A (en) * 1974-09-27 1978-04-11 Nippon Gakki Seizo Kabushiki Kaisha Electronic musical instrument
JPS5237028A (en) * 1975-09-17 1977-03-22 Nippon Gakki Seizo Kk Electronical music instrument
US4166405A (en) * 1975-09-29 1979-09-04 Nippon Gakki Seizo Kabushiki Kaisha Electronic musical instrument
JPS52121313A (en) * 1976-04-06 1977-10-12 Nippon Gakki Seizo Kk Electronic musical instrument
JPS589958B2 (ja) * 1976-09-29 1983-02-23 ヤマハ株式会社 電子楽器のエンベロ−プ発生器
US4336736A (en) * 1979-01-31 1982-06-29 Kabushiki Kaisha Kawai Gakki Seisakusho Electronic musical instrument

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DE3023581C2 (de) 1983-11-10
DE3023581A1 (de) 1982-01-07
ATE7428T1 (de) 1984-05-15
DE3163483D1 (en) 1984-06-14
SU1145940A3 (ru) 1985-03-15
JPS5748793A (en) 1982-03-20
US4422363A (en) 1983-12-27
EP0042555A1 (fr) 1981-12-30

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