DE102017126407A1 - string instrument - Google Patents

Abstract

It is proposed a stringed instrument comprising a main body, a plurality of strings and a bridge. The main body comprises at least two acoustically isolated elements, one of which a hollow, the web (o) carrying sounding body (s) and the other a sounding body (s) comprehensive frame (i, j, m, s) with fasteners for Ends of the strings (f) and pads for a musician (q, q ', k) is.

Description

field of use

The invention relates to a musical stringed instrument.

State of the art

Acoustic string instruments (chordophones) are roughly divided into two subgroups. On the one hand plucked instruments, such as acoustic guitar, banjo, mandolin or mandola. On the other hand, stringed instruments, such as violoncello, violin, viola, double bass or viola da gamba. The listed instruments are widely used in their present form and have hardly changed in shape and construction in the past decades, sometimes even centuries.

Together, the listed stringed instruments have the following structure. The core of the instrument is a hollow body of sound. At its one end (here referred to as "upper") a neck with fretboard, upper saddle and instrument head is attached. The instrument head can be pronounced as a pegbox with vertebrae (for example, violin, viola and cello), as a headstock with tuners (for example, in guitar) or as a pegbox with tuners (for example, in double bass). The vortices or tuners hold the "upper" end of several strings and allow the musician to adjust the basic tension by turning them. The strings run in the direction of the orchestra and leave the instrument head above the upper saddle, where they rest firmly.

After passing the upper saddle, the strings run for a certain distance at a distance of a few millimeters approximately parallel to a solid bearing surface, the fingerboard. The course of the strings above this support surface allows the musician, by depressing the strings on the fingerboard with one or more fingers (in right-handed generally with fingers of the left hand) to shorten the free-swinging section of the string and thereby the resonant frequency of the string and thus increase the generated sound. The fingerboard can be either smooth, as in violin or cello, or in mathematically defined intervals by about one millimeter high elevations, called frets, be vaulted. The latter is the case with guitars.

After leaving the fingerboard, the strings then run over a bridge resting on the ceiling of the orchestra. The bridge is generally much higher for stringed instruments than for plucked instruments of comparable size (for example cello for about 85-90mm, for guitar about 10-15mm).

In stringed instruments upper caliper, fingerboard and bridge are generally rounded transversely to the course of the string, to allow a painting of all strings; in plucked instruments these components are usually not rounded.

The other end (here referred to as the "lower") of the strings is anchored in a tailpiece. This can either sit directly on the sound body and be firmly connected to it (this is the case with classical acoustic guitars, where the bridge and tailpiece are often a unit) or a separate accessory, which in turn uses a loop called the final string attached to a designated mounting point, which is located centrally on the "bottom" of the instrument. The final string runs at the bending point between the ceiling and underside via a reinforcement called a lower saddle. A separate tailpiece is mainly used in stringed instruments, but is also common in certain types of acoustic guitars (e.g., jazz guitar). For violin and viola, the mounting point is an end button, for cello and double bass a barbed pear with an inwardly extending, extendable spine. Both sit on stringed instruments of classical design in a conical bore in a mounted inside of the instrument and referred to as Unterklotz reinforcement.

The generation of the perceptible to the listener sound occurs in string instruments by amplifying a, by the musician by plucking or brushing excited, vibration of one or more strings by means of coupling, via the bridge, to the hollow body. Each string produces a tone whose fundamental frequency is changed by varying the string tension ("voices") and its playing frequency by shortening the free-swinging string length (for example, by pressing down the string on the fingerboard with fingers).

The acoustic instruments of acoustic string instruments are generally made of several individual parts, which are then glued together to form a unit. In all string instruments and guitars, the sound body is usually composed of back, sides and ceiling, each forming approximately perpendicular to each other surfaces. In mandolins back and sides form a cup-shaped unit. In stringed instruments, the ceiling and back are generally provided with a pronounced curvature, the shape of which has remained virtually unchanged over the past two centuries. For acoustic guitars, the ceiling and back are generally nearly flat. An exception are so-called Archtop guitars with arched ceilings and Ovation-style guitars with back and sides forming a bowl-shaped unit.

For the most part, stringed instruments of classical design are made of wood, whereby specially adapted wood types are used for different parts of the instrument. Especially in the guitar since the 1950s occasionally also plastics are used. Occasionally, composite materials have also been used in string instruments since the 1980s, in particular based on carbon fiber fabrics (see, for example, Patent US 6284957 B1 : "Carbon fiber cello").

The vast majority of all stringed instruments is constructed so that instrument head, neck, fingerboard and orchestra are firmly connected together, usually by gluing. There are variants in which the connection of these parts remains resolvable, such as by screwing, which allows the replacement of, for example, the neck structure or the body (see, for example, patent US 20120011984 A1 : "Interchangeable string instrument"). In other proposed variants, individual parts of the instrument, such as the neck, are movable to allow for "collapsing" of the instrument (see, eg, patent US 4770079 A : "Collapsible stringed musical instrument" or patent US 7696419 B2 : "Collapsible stringed musical instrument").

Overall, however, most of the new construction variants proposed since the 1950s for stringed instruments are not based on acoustic but on electric instruments, eliminating the need to integrate a hollow, tuned to the range of the instrument. Semi-acoustic instruments, in which both an electronic and an acoustic amplification of the sound takes place, form a transitional area. In these instruments, however, the acoustic sound generation is often subordinated and the volume and timbre of the acoustic amplification are often correspondingly weaker.

Disadvantages of the prior art

• • Zum einen muss er die durch die Saitenschwingung über den Steg zugeführte Vibration hörbar machen. Hierfür werden zur Optimierung von Klangqualität und Spielbarkeit im allgemeinen dünnere Wandstärken und spezifische, akustisch günstige Formen bevorzugt.
• • Zum anderen muss er die mechanische Stabilität des Instrumentes gewährleisten und den auf ihn durch die Spannung der Saiten einwirkenden Druck (bei einem Cello beispielsweise etwa 60kg entlang der Saiten, bei Stahlsaiten-Gitarren etwa 70kg) auffangen. Zu diesem Zwecke sind im allgemeinen dickere Wandstärken und spezifische, statisch günstige Formen bevorzugt.
• • Zuletzt bildet er Teil der physischen Schnittstelle zum Spieler und muss deshalb bestimmte Kontaktflächen gewährleisten und ergonomisch günstig geformt sein. Der Kontakt zwischen Klangkörper und Spieler führt dabei zu einer normalerweise unerwünschten Dämpfung der Korpus-Schwingungen.

In acoustic string instruments of established construction, the orchestra must fulfill several competing tasks:

• • On the one hand, it must make audible the vibration introduced by the string vibration over the bridge. For this purpose, thinner wall thicknesses and specific, acoustically favorable shapes are generally preferred for optimizing sound quality and playability.
• • On the other hand, it must ensure the mechanical stability of the instrument and absorb the pressure exerted on it by the tension of the strings (with a cello, for example, about 60 kg along the strings, with steel string guitars about 70 kg). For this purpose, thicker wall thicknesses and specific, statically favorable shapes are generally preferred.
• • Lastly, it forms part of the physical interface to the player and must therefore ensure certain contact surfaces and be ergonomically shaped. The contact between the sounding body and the player leads to a normally unwanted damping of the body vibrations.

Usually, the sound body is firmly connected to the other parts of the instrument (such as fingerboard, neck, string suspension), for example by gluing. The mechanically strong coupling between the sounding body and the rest of the instrument (even with instruments with reversible connections) restricts the possibilities of the instrument maker to optimize an instrument both in terms of sound quality and playability, as well as in terms of mechanical stability, as well as in terms of ergonomics and costs.

In addition, a production in classical construction requires the composition of the sound body from separately manufactured parts. In general, the ceiling is glued on frames or a back shell, usually with the aid of a so-called lining strip leading inwards along the contact line. This construction of discrete elements with a clearly set ceiling and almost rectangular transition acoustically limits the ceiling and thereby defines its oscillation possibilities.

Object of the invention

The object of the invention is to resolve the existing in the established design of string instruments conflict of structural needs in terms of sound quality, playability, stability and ergonomics to make the instruments more modular and reduce manufacturing costs.

Solution of the problem by the invention

This object is achieved by a stringed instrument, which according to claim 1 on the one hand from a hollow body and a comprehensive this body, but acoustically isolated from it, frame is provided according to claim 13 on the other hand with a sound body, form in the ceiling and sides a unit and merge into one another with a rounded course.

In the proposed construction according to claim 1, the instrument is thereby separated into two main components: the orchestra on the one hand and a frame comprising it on the other hand. The frame forms the physical interface to the player and ensures the mechanical stability of the instrument. The sound body is inserted in this frame so that only the bridge is acoustically coupled to him and so the string vibration can be amplified by the sound body. In addition, within the limits, which are predetermined by the shape and size of the frame and acting on the bridge string pressure, the design of the sound body largely free, for example, in terms of shape, wall thickness and material.

In the proposed construction according to claim 13, the sounding body is thereby formed so that the ceiling and frames form a unit and the transition from the ceiling to the side surface is continuous, i. a radius follows.

Advantages of the invention

Due to the mechanical separation of sounding body and frame according to claim 1, the instrument can be optimized with more degrees of freedom both in sound quality (timbre and volume) and playability, as well as mechanical stability, as well as in terms of ergonomics, as well as in terms of manufacturing costs. The instruments thus created are also less sensitive to fluctuations in humidity and temperature.

In addition, the sounding body and frame are interchangeable, so that on the one hand more cost-effective and optimized according to different criteria instruments can be made (for example, cellos with darker and lighter sound), and on the other hand more costly manufacturing processes (such as hand-laid carbon fiber fabric) limited to those components (in particular, the orchestra), where they actually bring an advantage.

By merging the ceiling and sides with a continuous transition, the top and sides are acoustically coupled together in a way that positively influences the sound of the instrument.

Further advantages can be found in the description, the figures and the claims.

Description of exemplary embodiments

list of figures

• 1: Ausprägung der Erfindung in Cello-Form, komplett, perspektivisch
• 2: Ausprägung der Erfindung in Cello-Form, komplett, Aufsicht
• 3: Ausprägung der Erfindung in Cello-Form, ohne Klangkörper, Aufsicht
• 4: Ausprägung der Erfindung in Cello-Form, komplett, Seitenansicht
• 5: Ausprägung der Erfindung in Cello-Form, ohne Klangkörper, Seitenansicht
• 6: Ausprägung der Erfindung in Gitarren-Form, komplett, Aufsicht
• 7: Ausprägung der Erfindung in Gitarren-Form, ohne Klangkörper, Aufsicht
• 8: Ausprägung der Erfindung in Gitarren-Form, komplett, Seitenansicht
• 9: Ausprägung der Erfindung in Gitarren-Form, ohne Klangkörper, Seitenansicht
• 10: Ausprägung der Erfindung in Violinen-Form, komplett, Aufsicht
• 11: Ausprägung der Erfindung in Violinen-Form, komplett, Seitenansicht
• 12: Klangkörper-Wandung mit Strebe und Isoliermanschette, Seitenansicht
• 13: Klangkörper-Querschnitt, klassisch, Gitarre
• 14: Klangkörper-Querschnitt, klassisch, Streichinstrument
• 15: Klangkörper-Querschnitt, neuartig, Streichinstrument
• 16: Klangkörper-Querschnitt, neuartig, Streichinstrument

Embodiments of the invention are illustrated in the drawings and will be described in more detail below. Show it:

• 1 : Expression of the invention in cello form, complete, perspective
• 2 : Expression of the invention in cello form, complete, supervision
• 3 : Expression of the invention in cello form, without sound body, supervision
• 4 : Expression of the invention in cello form, complete, side view
• 5 : Expression of the invention in cello form, without sound body, side view
• 6 : Expression of the invention in guitar form, complete, supervision
• 7 : Expression of the invention in guitar form, without sound body, supervision
• 8th : Characterization of the invention in guitar form, complete, side view
• 9 : Expression of the invention in guitar form, without sound body, side view
• 10 : Expression of the invention in violin form, complete, supervision
• 11 : Expression of the invention in violin form, complete, side view
• 12 : Soundboard wall with strut and insulating collar, side view
• 13 : Sound body cross section, classical, guitar
• 14 : Sound body cross section, classical, string instrument
• 15 : Sound body cross-section, novel, string instrument
• 16 : Sound body cross-section, novel, string instrument

Descriptions of regions and directions

• • oben / Oberseite: der Teil des Instrumentes, der dem Instrumentenkopf am nächsten liegt.
• • unten / Unterseite: der Teil des Instrumentes, der dem Instrumentenkopf am fernsten (und den Endknöpfchen / Stachel am nächsten) liegt.
• • vorne / Vorderseite: der Teil des Instrumentes, der den Saiten am nächsten und der Rückenfläche am fernsten liegt.
• • hinten / Rückseite: der Teil des Instrumentes, der den Saiten am fernsten und der Rückenfläche am nächsten liegt.
• • rechte Seite: der Teil des Instrumentes, der in Aufsicht auf die Vorderseite, mit Instrumentenkopf nach oben weisend, rechts und damit bei Gitarre und Cello den höher klingenden Saiten am nächsten liegt.
• • linke Seite: der Teil des Instrumentes, der in Aufsicht auf die Vorderseite, mit Instrumentenkopf nach oben weisend, links und damit bei Gitarre und Cello den tiefer klingenden Saiten am nächsten liegt.

In this document, the areas of an instrument are denoted as follows:

• • top / top: the part of the instrument closest to the instrument head.
• • bottom / bottom: the part of the instrument that is furthest from the instrument head (and closest to the end button / sting).
• • Front / Front: the part of the instrument closest to the strings and the back surface furthest away.
• • Rear / Back: the part of the instrument that is farthest from the strings and closest to the back surface.
• • right side: the part of the instrument that is closest to the higher-sounding strings when viewed from the front, with the instrument head facing up, to the right, and thus to the guitar and cello.
• • left side: the part of the instrument that is closest to the lower-sounding strings when viewed from the front, with the instrument head facing up, left, and thus on the guitar and cello.

• • vertikal: entlang der von „oben“ nach „unten“ verlaufenden Achse, d.h. parallel zu den Saiten.
• • horizontal: entlang der von „vorne“ nach „hinten“ verlaufenden Achse, d.h. orthogonal zu den Saiten entlang der Zargen des Instrumentes.
• • lateral: entlang der von „rechts“ nach „links“ verlaufenden Achse, d.h. orthogonal zu den Saiten und parallel zur Decke des Instrumentes.

Directions are referred to with respect to an instrument as follows:

• • vertical: along the axis running from "top" to "bottom", ie parallel to the strings.
• • horizontal: along the "front" to "rear" axis, ie orthogonal to the strings along the sides of the instrument.
• • lateral: along the axis running from "right" to "left", ie orthogonal to the strings and parallel to the ceiling of the instrument.

Abbreviations

• • GFK: Glasfaser-verstärkter Kunststoff: Verbundwerkstoff basierend auf Glasfasern in einer Matrix aus Kunststoff, sowohl duroplastisch (Epoxydharz, Polyesterharz) als auch thermoplastisch (z.B. Polyamid).
• • CFK: Kohlefaser-verstärkter Kunststoff: Verbundwerkstoff basierend auf Fasern aus Kohlenstoff in einer Matrix aus Kunststoff, analog GFK.
• • ABS: Acrylnitril-Butadien-Styrol, ein thermoplastischer Kunststoff
• • PE: Polyethylen, ein thermoplastischer Kunststoff
• • LDPE bzw. PE-LD: Polyethylene of Low Density, eine Polyethylen-Variante niedrigerer Dichte (ca. 0.915 - 0.935 g/cm³).
• • HDPE bzw. PE-HD: Polyethylene of High Density, eine Polyethylen-Variante höherer Dichte (ca. 0.94 - 0.97 g/cm³). Unterformen sind PE-HMW (Polyethylene of High Molecular Weight und PE-UHMW (Polyethylene of Ultra-High Molecular Weight).
• • XPS: Extrudiertes Polystyrol, ein Schaumstoff auf Basis von Polystyrol.

Among others, the following abbreviations for materials are used:

• • GRP: Glass-reinforced plastic: Composite based on glass fibers in a matrix of plastic, both thermosetting (epoxy resin, polyester resin) and thermoplastic ( z .B. Polyamide).
• • CFRP: carbon fiber reinforced plastic: composite material based on carbon fibers in a matrix made of plastic, similar to GRP.
• • ABS: acrylonitrile-butadiene-styrene, a thermoplastic
• • PE: Polyethylene, a thermoplastic
• • LDPE or PE-LD: Polyethylene of Low Density, a polyethylene version of lower density (about 0.915 - 0.935 g / cm ³ ).
• • HDPE or PE-HD: Polyethylene of High Density, a polyethylene version of higher density (about 0.94 - 0.97 g / cm ³ ). Subforms are PE-HMW (Polyethylene of High Molecular Weight and PE-UHMW (Polyethylene of Ultra-High Molecular Weight).
• • XPS: Extruded polystyrene, a foam based on polystyrene.

Structure of the instrument

A stringed instrument according to the invention consists of a main body, a plurality of strings ( f ), a footbridge ( O ) as well as instrument-dependent accessories.

The main body consists of two acoustically isolated elements: a hollow, the bridge-bearing sounding body ( n ) on the one hand and a frame on the other.

The frame consists of a surround for the sound body, vibration-insulating support surfaces ( y ) for the orchestra, an optional support structure ( 1 ), one or more contact surfaces for the musician ( k . q . q ' ), as well as a neck structure ( i ).

The surround for the sound body in turn consists of an upper frame surface ( j ), a back surface ( m ) and a lower frame surface ( s ). The lower ends of the strings ( f ) are either directly or by means of a tailpiece ( r ) with final string ( t ) attached to the lower frame surface. In the latter case, the attachment of the final string either on an Endknöpfchen ( v ) or a spiked pear ( v ), each sitting in a corresponding conical bore. The lower frame surface then carries a lower saddle ( u ) over which the final string is diverted.

The optional support structure ( 1 ), which is helped by the tension of the strings ( f ) to absorb forces acting on the frame in the vertical direction and to ensure the correct alignment of the neck structure. It consists of one or more support struts between the lower frame surface ( s ) and the upper frame surface ( j ) are stored. Its components are where they run at a small distance to the wall of the sound body (for example, in support tubes running through the inside of the sound body at the penetration points through the wall) of vibration-insulating sleeves ( z ) sheathed.

The neck structure ( i ) consists of neck ( G ), Fingerboard ( e ), Upper saddle ( d ) and instrument head ( c ). The instrument head is typically either as a pegbox ( a ) with vertebrae ( b ) ( z .B. for violoncello, violin and viola), as head plate ( a ) with mechanics ( b ) ( z .B. in guitar), or as a pegbox with tuners ( z .B. with double bass).

instrument forms

A stringed instrument according to the invention may take a variety of forms. Of particular interest are characteristics which correspond in their outer contour and their sound to those of known stringed instruments. These are on the one hand plucked instruments, such as acoustic guitar, acoustic bass, banjo, theorbo, mandolin or mandola, and on the other hand, stringed instruments, such as violoncello, violin, kings, viola, double bass or viola da gamba.

An embodiment of the invention in the form of a violoncello is in 1 to 5 represented, an expression in the form of a guitar in 6 to 9 and an expression in the form of a violin in 10 and 11 ,

insulation systems

In various regions of the stringed instrument presented here, it is necessary to acoustically isolate adjacent components from each other, ie to minimize the transmission of vibrations and the vibration energy associated therewith. The respectively suitable methods for isolating vibrations depend on the one hand on their frequency range, which is generally between about 20 and 20,000 hertz in stringed instruments, and on the other hand on the pressure acting on the insulating components. In the case of stringed instruments, for example, the pressure applied to the contact surfaces ( y ) acts on the order of magnitude of about 100 N and 1000 N. In a cello, for example, the strings are vertically approximately under a train of 600N, horizontally act on the bridge about 300N.

We will refer to a component of the invention, which implements an insulating process and thus separates a vibrating and a stationary body from each other, as an insulation system. In the present invention, two main strategies and hybrid solutions are used to represent isolation systems. The strategies are based on the one hand on the use of elastic materials, on the other hand on the use of dense materials. Both types of isolation systems and their hybrids will be briefly explained here; later sections of the description refer to the versions listed here. Within an instrument several isolation systems of different characteristics can be used.

Isolation systems based on elastic materials aim to prevent an effective transmission of vibrational energy from the vibrating to the stationary body in that the vibrations can not pass the interposed elastic material. In preferred embodiments, the insulation system components representing foam, in particular based on LDPE, neoprene, polystyrene or polyurethane. In an alternative embodiment, the elastic member is made of leather.

Insulation systems based on dense materials aim to prevent an effective transmission of vibrational energy from the vibrating body to the stationary body by virtue of the fact that the resting body is relatively more massive compared to the adjoining area of the vibrating body; the more massive body is only relatively small is vibrated and waves reflect rather than transmitted. In preferred embodiments, the components representing the insulation system consist of very dense material (for example tungsten, brass, steel) and thus contact, based on a specific weight of the component, only the smallest possible area of the body. The components are either firmly connected to the frame and / or sound body to avoid rattle (by periodic detachment and renewed contact under vibration).

Both versions can also be combined with each other to create hybrid isolation systems. In this case, in the component system representing the insulation system, layers of an elastic and of a relatively massive material alternate, for example, from neoprene and steel, once or several times.

Related Form

In a preferred embodiment of the invention, top plate or pegbox ( a ), Neck ( G ), Neckline ( H ), upper frame surface ( j ), Back surface ( m ), and lower frame surface ( s ) and are made as a single contiguous frame.

This form may, inter alia, be pronounced as a laminate of composite materials (for example CFRP, GKF), as a cast product (for example made of epoxy resin) or as a pressed product (for example made of thermoplastics such as ABS or PE). In a preferred version for violoncello, the coherent frame form consists of carbon fiber fabric in a matrix of epoxy resin with a thickness of 1600 - 3000 g / qm.

In order to simplify the production, the continuous frame shape can be composed of two or more separately manufactured parts, for example by gluing or screwing. In particular, a division transverse to the back surface is advantageous, since so individual forms arise that have no (unfavorable for the removal) intersections (relevant for laminating or pressing method).

Stiffness of the frame

In order to avoid that the forces acting on the instrument during use (both by gravity and by the musician) lead to deformation of the frame, which in turn causes a change in the neck angle or detuning of the instrument, the back surface is ( m ) as well as the lower frame surface ( s ) According rigidly executed. The correct position of the upper frame surface ( j ) can then by the support structure ( 1 ) be ensured. In order to achieve the necessary rigidity with low material thickness (and thus lower costs and lower weight), in each case a three-dimensional profile is formed in the back surface and the lower frame surface.

Protection against slipping

To avoid that during use or transport of the instrument acting on the sound body accelerations (both by gravity and by movement of the instrument itself) cause the sound body relative to the surrounding frame slip and so a detuning of the instrument or a change in the Causes the strings above the fingerboard, the sound body is optionally held by inserted at appropriate locations fixing buffers in the frame.

Since the fixation buffers necessarily touch the sounding body, they can absorb vibrations occurring in it, which is generally undesirable. Number, position, shape and design of the fixing buffers are therefore chosen so that they prevent the one hand slipping of the body in the expected stress, on the other hand simultaneously minimize the attenuation occurring. They are preferably mounted so that they may be removed before use of the instrument and used again after use.

The designs of the fixing buffers correspond to the types listed above for insulation systems.

In a preferred embodiment for violoncello, represented by the elements (y ') in 2 , the fixation buffers consist of about 8 cm high, 2 cm wide and 1.5 cm thick foam elements made of LDPE, on the one hand between the right and left edge of the lower frame surface ( s ) and the sound body and between the lower edge of the contact surfaces for the legs ( q ) and the sound body are attached.

support structure

The optional support structure ( 1 ) may consist of one or more support shapes, for example, as a support struts or in Y-shape exist. The support forms can be hollow or solid bodies with round, oval or rectangular cross-sections or profiles ( z .B. T or I profile). The ends of the support shapes are shaped so that they rest flat against the corresponding frame surfaces.

Embodiments of the invention use composite materials (GRP, CFRP), as well as plastic, wood, ceramic or metal.

The constituents of the support structure can run inside or outside (above and / or laterally) of the sound body volume.

With inside struts they pierce the sound body up and down. For this purpose, corresponding holes are present on the lower and upper wall surfaces of the sound body. In order to avoid a transmission of vibrations between the sounding body and struts, the holes are larger in diameter than the struts and at the piercing points are struts and sound body wall of each other by insulating sleeves ( z ) separated.

The embodiments of the insulating sleeves correspond to the types listed above for insulation systems, in particular by means of elastic materials.

In a preferred embodiment for violoncello, represented by the elements ( z ) in 2 to 5 , the insulating sleeves consist of about 2 cm wide, about 8 cm long and about 5 mm thick foam elements made of LDPE, which at the puncture points around the support struts ( 1 ) are wound and abut the inner edge of the bore on the orchestra.

In a preferred embodiment, two round tubes made of CFRP running parallel from top to bottom along the central axis of the instrument are used, which are arranged so that they do not interfere with the internals ( z .B. Bass bar, voice stick or barbed bulb / sting) come into contact. The ends of the struts are shaped (chamfered / rounded) so that they follow the curvature of the lower and upper frame surfaces at the contact points.

In the preferred embodiment in the form of a cello, the tubes are 18mm in diameter and 3mm in wall thickness and extend from top to bottom 71mm from the central axis and 35mm from the ceiling of the instrument. This way you avoid the bony pear at mid-cello ( v ) or the sting ( w ).

In an alternative embodiment, the struts are not used in parallel but so that they touch on the underside of the instrument. When using more than one strut, it is generally useful to have at least two spatially separated contact points with the upper frame surface (FIG. j ), since such a lateral bending of the neck ( i ) under the tension of the strings ( f ) is avoided.

In an alternative embodiment, the struts are adjustable in length, for example by division in two or trisection with intermediate threads. In an alternative embodiment, the struts are on variable support points whose thickness is adjustable (for example by a thread). Both length-adjustable struts and adjustable support points allow one hand to adjust the neck position of the instrument (and thus to correct any skewing of the fingerboard under the strings) and on the other hand the string position ( d .H. set the distance of the strings from the fingerboard at its end facing the bridge).

The support structure can, instead of as an arrangement of struts, also be designed as an extension or stiffening of the frame, and as a combination of support struts and stiffening. The extension of the frame may consist in particular of a stable wall enclosing the sound body also on its right and left sides, which then also has one or more of the contact surfaces with the musician ( q , q ').

contact surfaces

The contact areas for the player ( k . q , q ') allow the musician to hold the instrument without disturbing the sound ( n ) to get in touch yourself. In this way, body-contacting and commonly unwanted damping is avoided.

The number, position and shape of the contact surfaces is variable and depends on the modeled instrument.

In the case of a violoncello, the player touches the instrument (except fingerboard / neck) with the chest, left forearm (right-handed) and inner thighs around knees. Accordingly, for a violoncello according to the invention contact surfaces are provided for Brust ( j ), left forearm ( k ) and legs ( q ).

For a guitar, the player contacts the instrument except the fingerboard with chest / abdomen, right forearm (right-handed version), and thighs. Accordingly, for a guitar according to the invention contact surfaces are provided for chest / abdomen ( m ), right forearm (q ') and thighs ( q ).

In the case of a violin or viola, the player contacts the instrument with the left hand (right-handed), the left shoulder (right-handed), chin and neck except on the fretboard. Accordingly, for a violin or viola according to the invention contact surfaces are provided for the left hand ( j ), the left shoulder ( m ), Neck ( s ) and chin (through one of the lower frame surface ( s ) corresponding, a conventional chin rest modeled, contact surface). Optionally, a shoulder rest of conventional design can be mounted.

Versions of the instruments for left-handers are accordingly reversed.

The contact surfaces may be firmly integrated into the frame, i. Extensions of the frame members, or they may be removable elements that are mounted on the frame for this purpose. The assembly takes place by means of screws, magnets or by gluing.

The contact surfaces can be adapted to the playing habits of the respective instrument, covered with covers, for example made of leather, plastic, rubber, foam or textiles; with or without underlying padding.

orchestras

The orchestra ( n ) is a mold with a thin wall. It is usually on its surface facing the strings (the ceiling) with one or more sound holes ( p ) Mistake. It can be internally provided with internals that serve mechanical reinforcement on the one hand and sound shaping on the other hand (for example, bass bars and vocal staves for stringed instruments, guitar reinforcing strips).

The shape of the body is variable and depends on the modeled instrument type. It generally has curves in lateral / vertical direction ( d .H. the frames are curved in the course from bottom to top, for example in guitar or mandolin form). For stringed instruments, the ceiling and back are generally curved.

In conventional construction, the sound body is made up of separately manufactured components. These components are as in 13 (for guitars) and 14 (for stringed instruments) illustrated ceiling ( n / A ), Move ( nb ) and frames ( nc ). In this variant, traditional material, such as wood, can be used.

In the embodiment according to claim 13, the sounding body is shaped so that the ceiling and sides form a unit and the transition between their surfaces is continuous, that is, follows a radius. In a preferred embodiment, the radius is not less than 5 mm.

In a preferred embodiment, as in 15 for cello as a section orthogonal to the vertical axis of the instrument, the orchestra is made of a volume almost completely composed combined ceiling / frame / partial back form ( nd ) as well as a back plate overlapping it around about 10mm and glued on it ( ne ) educated. A preferred manufacturing method for the volume encompassing ceilings / frames / partial back shape is based on a "lost form", for example, extruded foam, wax or sand, which is dissolved out of this after forming the component.

In an alternative embodiment, as in 16 the same section is made, the sound of a combined ceiling / frame form ( nf ) as well as a back resting on this and glued on them ( nb ) educated. The lateral edges (corresponding to the frames) are slightly inclined outwards towards the back. Since the ceiling / frame form is free of intersections, it can be manufactured in conventional construction by means of a negative mold (for example made of GRP), for example by lamination, deep drawing or injection molding. The inclination of the edge surfaces is preferably not less than 3 ° in order to facilitate the molding.

In the embodiment according to claim 13, in particular the in 15 and 16 For example, fiber composite materials, in particular fiberglass, CFRP and based on aramid fabric, are used for the sound body.

In all designs according to claim 1 consisting of a sound body and a frame comprising it with optional support structure, the sound body is subjected to a much lower mechanical load in the vertical direction compared to conventional construction. It can therefore be made with each material used with less wall thickness, as would be possible without the invention.

In a preferred version for cello, the body is made of carbon fiber fabric in a matrix of epoxy resin, with a thickness of 300-600 g / m² in the frame, 600-1000 g / m² in the outer area of the ceiling and 1000-2000 g / sqm in the area of the jetty.

In a preferred embodiment, the body is made up of alternating layers of carbon fiber fabrics having horizontal / vertical (0 ° / 90 °) and diagonal (45 ° / 135 °) fiber paths.

In a preferred embodiment, the sounding body is constructed from multiple layers of relatively low basis weight carbon fiber fabrics (not more than 250 gsm each and preferably 160 gsm) to achieve the desired total basis weight.

support surfaces

Vibration-isolating contact surfaces ( y ) separate the orchestra ( n ) acoustically from the frame and record the horizontal string pressure, ie the pressure of the tensioned strings ( f ) over the jetty ( O ) on the orchestra ( n ) is transmitted perpendicular to the ceiling surface. The sound body rests on these support surfaces, which in turn on the inside of the back surface ( m ) of the frame.

The versions of the bearing surfaces correspond to the types listed above for insulation systems. In a preferred embodiment for cello, the support surfaces of about 5 cm high, 18 cm wide and 2 cm thick foam elements made of LDPE.

Tailpiece, end string, sting

Other necessary accessories depend on the type of modeled instrument.

In the embodiment of the invention in the form of violoncello or double bass, it consists of tailpiece ( r ), Final string ( t ), Barbel ( v ) and sting ( w ).

In the embodiment of the invention in the form of violin or viola, it consists of tailpiece ( r ), Final string ( t ) and Endknöpfchen ( v ) for receiving the final string.

In the embodiment of the invention in the form of a guitar comes in a preferred variant also a tailpiece ( r ) with final string ( t ), as well as a Endknöpfchen ( v ) for receiving the final string. The use of tailpieces is included Jazz guitars disseminated, but deviates from the usual design for most acoustic guitars.

In embodiments of the invention based on instruments which project a spike ( w ) or a barbed bulb ( v ), the sound body is provided at the lower end with a corresponding hole that can accommodate these components after inserting the sound body in the frame. In order to avoid a transmission of vibrations between the sounding body and these components, the holes are larger in diameter than the components and at the piercing points are components and sound body wall of each other by an insulating sleeve ( z ) separated. The versions of the insulating sleeve for spike / barbed bulb corresponds to the previously listed for the insulating sleeves of the support struts types. In a preferred embodiment for cello, the insulating sleeve consists of a about 2 cm wide, about 10 cm long and about 5 mm thick foam element of LDPE, which is wound at the penetration point to the barbed bulb and rests on the inner edge of the bore on the orchestra.

Lower and upper saddle

The points where the strings touch the frame (usually upper saddle ( d ), Fingerboard ( e ) and lower saddle ( u )) and the components directly supporting these points (usually the lower frame surface ( s ) and neck ( G )), so that they absorb little vibration energy and optimally reflect vibrations, as hard as possible and therefore - since their outer contours are generally hardly changeable - be made of high density materials.

In various embodiments of the invention, upper saddle, fretboard and lower saddle are made of metal (in particular tungsten, brass, copper, steel), of wood (in particular dense types of wood such as ebony or rosewood), of composite materials (in particular CFRP, GFRP) or of plastic (in particular ABS or HDPE).

In an alternative embodiment, upper saddle and fretboard form a monolithic shape and are made of the materials listed for fingerboards.

Neck / neck

The neck ( G ) is solid in a preferred form. It can be made of wood, analogous to the traditional construction method.

In a preferred embodiment of the invention, the neck and the neck structure containing it form ( i ) Part of a larger contiguous frame form (as described above), which is made of composite materials (especially CFRP) and therefore hollow. In order to obtain a massive design, in a variant of the invention, the hollow shape between the upper frame surface ( j ) and instrument head ( c ) - with guitars optionally also completely above the upper frame surface ( j ) - filled with a filler.

In one embodiment of the invention, the neck or neck is provided with a thermoset ( d .H. initially liquid, then curing) plastic filled. In a preferred embodiment, epoxy resin is used.

In one embodiment of the invention, when using thermosetting fillers, their density is adjusted by admixing particles of other materials. In various forms, particles of metal (in particular tungsten, brass, copper, steel), of wood (in particular ebony or rosewood), ceramic or plastic (in particular HDPE) are admixed.

In an alternative embodiment, the neck or the complete neck structure is filled with foam, in particular with extruded or expanding foam of polystyrene or polyurethane.

In an alternative embodiment of the invention, the neck or neck is filled with a thermoplastic, for example ABS or PE (in particular HDPE).

fingerboard

In various forms of the invention, fingerboard ( e ) made of wood (especially ebony or rosewood), made of composite materials (especially CFRP and based on aramid fabrics), made of metal (especially tungsten, brass, copper, steel) or plastic (especially HDPE).

In an alternative embodiment, the fretboard is made of a core material covered by a shell material forming the surface. For the core material, the materials previously used for monolithic fingerboards are used. For the jacket material materials are used, which offer the player of the instrument a pleasant surface. These are in particular paints (in particular based on epoxy resin), wood (for example veneers made of ebony or rosewood) and composite materials (in particular a cover layer made of CFRP or based on aramid fabric).

In one embodiment of the invention, fingerboard ( e ) and neck ( G ) by an elastic Intermediate layer connected to avoid delamination due to different thermal deformation of the materials used.

pegbox

In embodiments of the invention, the instruments with pegbox ( c ), this pegbox generally forms part of a coherent frame shape previously described. In order to ensure a sufficient hold of the vertebrae in the pegbox, in a preferred embodiment of the invention, its right and left walls are made so that they are not thinner than 3 mm.

In a preferred embodiment of the invention in the use of composite materials for the coherent frame shape additional, localized, fiber layers of glass fiber, carbon fiber or aramid are inserted in the pegbox for this purpose.

In an alternative embodiment, only the area directly surrounding the swirl holes is thickened by gluing reinforcing material. This can be done in one go with the creation of the contiguous frame shape, for example, by placing CFRP platelets or discs on the not yet cured laminate.

• Legend for 1 to 5 :

  a.

  pegbox

  b.

  whirl

  c.

  Instrument head (pegbox + vertebra)

  d.

  upper saddle

  e.

  fingerboard

  f.

  strings

  G.

  neck

  H.

  neck

  i.

  Neck (neck, neck, fretboard, upper saddle, instrument head)

  j.

  Upper frame surface

  k.

  Contact surface for left forearm

  1.

  Support structure with support struts

  m.

  backrest

  n.

  orchestras

  O.

  web

  p.

  soundholes

  q.

  Contact surfaces for knees

  r.

  tailpiece

  s.

  Lower frame area

  t.

  Endsaite

  u.

  under saddle

  v.

  endpin

  w.

  sting

  x.

  Barbs (barbed bulb + sting)

  y.

  Bearing surfaces and y '. fixation buffer

  z.

  insulating sleeves

• Legend for 6 to 9 :

  a.

  headstock

  b.

  tuners

  c.

  Instrument head (headstock + mechanics)

  d.

  upper saddle

  e.

  fingerboard

  f.

  strings

  G.

  neck

  H.

  neck

  i.

  Neck (neck, neck, fingerboard, frets, upper saddle, instrument head)

  j.

  Upper frame surface

  k.

  frets

  1.

  Support structure with support struts

  m.

  backrest

  n.

  orchestras

  O.

  web

  p.

  sound hole

  q.

  Contact surfaces for legs and q '. for right forearm

  r.

  tailpiece

  s.

  Lower frame area

  t.

  Endsaite

  u.

  under saddle

  v.

  Endknöpfchen

  w.

  - not applicable -

  x.

  - not applicable -

  y.

  support surfaces

  z.

  insulating sleeves

• Legend for 10 and 11 :

  a.

  pegbox

  b.

  whirl

  c.

  Instrument head (pegbox + vertebra)

  d.

  upper saddle

  e.

  fingerboard

  f.

  strings

  G.

  neck

  H.

  neck

  i.

  Neck (neck, neck, fretboard, upper saddle, instrument head)

  j.

  Upper frame surface

  k.

  Contact surface for left hand

  1.

  Support structure with support struts

  m.

  backrest

  n.

  orchestras

  O.

  web

  p.

  soundholes

  q.

  Contact surface for chin

  r.

  tailpiece

  s.

  Lower frame area

  t.

  Endsaite

  u.

  under saddle

  v.

  endpin

  w.

  sting

  x.

  Barbs (barbed bulb + sting)

  y.

  Bearing surfaces and y '. fixation buffer

  z.

  insulating sleeves

• Legend for 13 to 16 :

  n / A

  blanket

  nb

  sides

  nc

  move

  nd

  Combination form ceiling / sides / partial back

  ne

  Back cover for combination form

  nf

  Combination form ceiling / sides

QUOTES INCLUDE IN THE DESCRIPTION

This list of the documents listed by the applicant has been generated automatically and is included solely for the better information of the reader. The list is not part of the German patent or utility model application. The DPMA assumes no liability for any errors or omissions.

Cited patent literature

• US 6284957 B1
• US 20120011984 A1 [0011]
• US 4770079A [0011]
• US 7696419 B2 [0011]

Claims (12)

String instrument comprising a base body, a plurality of strings and a bridge, characterized in that the base body comprises at least two acoustically isolated elements, one of which a hollow, the bridge (o) carrying the sound body (s) and the other a the sound body (s) comprehensive frame (i, j, m, s) with fastenings for the ends of the strings (f) and contact surfaces for a musician (q, q ', k). String instrument after Claim 1 characterized in that the string pressure occurring along the strings (f) is absorbed by a support structure (1) disposed between the upper frame surface (j) and the lower frame surface (s) and so relieves the sound body that only approximates orthogonal to the strings occurring pressure on it loads. Stringed instrument after one of the Claims 1 or 2 , characterized in that the support structure (1) comprises two support struts. String instrument after Claim 2 or 3 , characterized in that the support structure (1) is arranged predominantly within the sound body (s) and pierces it at the recesses provided for this purpose at the upper and lower end. Stringed instrument after one of the Claims 2 to 4 , characterized in that the support structure (1) does not touch the sound body (s) and is separated from it by acoustically insulating sleeves (z). Stringed instrument after one of the Claims 2 . 3 and 5 , characterized in that the support structure (1) is arranged predominantly outside, in particular also above the sound body (s). Stringed instrument after one of the Claims 2 to 6 , characterized in that the length and / or the position of the support structure (1) is adjustable / is. Stringed instrument after one of the Claims 1 to 7 , characterized in that the frame (i, j, m, s) comprising the sounding body (s) is stiffened by incorporating a three-dimensional profile so as to pick up the string pressure occurring along the strings (f) and so far the sounding body Relieves that only the approximately orthogonal to the strings occurring pressure on him loads. Stringed instrument after one of the Claims 1 to 8th , characterized in that the frame (i, j, m, s) comprising the sounding body (s) at one or more of the locations around planar, the sounding body (s) partially vaulting, but not touching elements (q, q ', k) is extended. Stringed instrument after one of the Claims 1 to 9 , characterized in that the contact surfaces for the musician (q, q ', k) are reversibly connected to the frame (i, j, m, s). Stringed instrument after one of the Claims 1 to 10 , characterized in that the sound body (s) of the frame (i, j, m, s), in particular of a back surface (m), separated by acoustically insulating support surfaces (y) and within the frame by fixing buffer (y ') against secured laterally and / or vertically slipping. Stringed instrument after one of the Claims 1 to 11 , characterized in that the sounding body (s) comprises a blanket (na) and ribs (nb) formed from a composite material, forming a unit and merging into one another with a rounded profile having a radius of not less than 5 mm.

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