RU2169397C2 - Musical instrument mechanical design - Google Patents

Abstract

FIELD: musical instruments. SUBSTANCE: musical instrument has plugs assembled of plates similar or almost similar in surface area and configuration which are arranged in parallel or at certain angle to each other and joined together by means of longitudinal bars or arms with wood figures in the form of rhombs or triangles in-between; rear part of verbal bank abutting against lining leather is hollow multiple-step structure formed by differently shaped wood and metal parts. EFFECT: enhanced acoustical characteristics of instrument. 11 dwg

Description

 The invention relates to the construction of musical instruments, in particular piano, harpsichord.

 A well-known design of a musical instrument, consisting of the main sound-generating units, including acoustic plugs, a vibe-bank with a back board, a futor in the form of bars and a resonant unit with a shield, rods and rips (Dyakonov N.A. Royals and pianos. Design and production. M .: Timber industry, 1966, p. 64-87).

 A disadvantage of the known construction of a musical instrument is its low acoustic characteristics.

 The technical result of the invention is to increase the acoustic characteristics of a musical instrument.

 This is achieved by the fact that the plug consists of plates located parallel or at an angle to one another relative to each other, close or equal in area and configuration and interconnected by wooden longitudinal bars-rays, between which on the inside there are wooden figures in the form of rhombuses, rectangles, the back the part of the wiredbank adjacent to the foot consists of a hollow multi-stage structure formed of wooden metal parts of various shapes, and holes are formed in the back board for transmission of vibrations to the external environment, one of the stub plates made of glued coniferous, broad-leaved, exotic woods or a combination of wood species of different hardness, and holes, cuts and indentations of various types are made in the bars of the foot to create the necessary gamut of overtones in the low and medium frequencies, while wedge blocks are glued between the coniferous bars in the resonance shield to change the overall sound scale.

The invention is illustrated by drawings, where
FIG. 1 shows an acoustic futor,
Fig 2 - rip, plugs, treble rod, bass rod lever and harmonic bar,
FIG. 3 - a figure is depicted representing the lower part of the acoustic plug facing the piano,
FIG. 4 - the plane of the acoustic plug,
FIG. 5 - resonant shield with rips, acoustic figures,
FIG. 6 - shows figures related to this system of rip configuration in section,
FIG. 7 - one of the options for a hollow acoustic plug in cross section,
FIG. 8 - a resonant shield of bars with inserts,
FIG. 9 - another version of the resonant shield,
FIG. 10 is a variant of the unconventional manufacture of rips (side view),
FIG. 11 is an embodiment of a rip form (side view).

 The design of the musical instrument consists of the main sound-generating units, including acoustic plugs 1, 2, wirbelbank 3 with a back board (not shown), a futur in the form of bars 4, 5, 6, 7 and a resonant unit with a shield 8, rods 9, 10 and rips eleven.

 The plug 1, 2 consists of plates located parallel or at an angle with respect to one another, close or equal in area and configuration and interconnected by wooden longitudinal bars-rays 12, between which on the inside there are wooden figures 13 in the form of rhombuses, rectangles; the back of virbelbank 3, adjacent to the foot. consists of a hollow multi-stage structure formed of wooden 14 and metal 15 parts of various shapes, and holes are formed in the back board for transmitting vibrations to the external environment.

 One of the stub plates 1, 2 is made of glued coniferous, broad-leaved, exotic woods or a combination of wood species of different hardness, and holes 16, cutouts 17 and recesses of various types are made in the bars 4, 5, 6, 7 of the foot to create the necessary gamut of overtones in the field of low and medium frequencies.

 In the resonance shield 8 between the coniferous bars 18 maple bars 19 are glued to change the overall sound spectrum.

 There is a harmonic bar 20 glued to the deck.

 Positions 21, 22, 23, 24, 25, 26, 27 marked rip 11 made of various shapes.

 Ripki 24 - 27 have a height of 1.5, 2, 3 times the width of the base connected to the deck.

 With the help of cutouts on the sides of rips 22, 23, the spectrum of the rips themselves is enriched and the spectral composition of the sound waves emitted by the deck changes accordingly.

 When using thin, high rips 24, 25, 26, 27, it becomes possible to make thinner and, as a result, lower in the main tone of the deck. The stiffness lost by thinning the deck is offset by stiff, high, thin rips. With hard rips, the probability of failure of the deck under the pressure of the strings is excluded, which ensures a much more stable sound of the instrument. At the same time, the rigid system of the resonant node increases the duration of the notes in all registers.

 Ripki 11 without cuts at the ends, but having a smooth thinning towards the middle of the rip, create an original timbre.

 Ripki 11 have at the ends of three slices.

 The use of new rip designs in various combinations significantly enriches the sound palette of deck radiation.

 28 denotes the angular flat part of the deck, and 29 denotes the opposite plane.

 The difference between the new design and the prototype is that its main components - virbelbank, futor, resonance unit have significant changes and additions that qualitatively affect the result. In addition, a fundamentally new technology for the manufacture of piano parts was used.

 In the sequential consideration of the individual elements of the general structure that have changes, the design is different and supplemented with new components that were not previously used in piano building.

 It is known that the resonant node of the piano (Fig. 2, 5-11) consists of a resonant shield with rips 11, caps 1, 2, rods 9. The resonant shield 8 consists of a sheet of plywood or glued boards 18 of coniferous wood. Ripki 11 - long slats with cuts at the ends. The height of the cuts decreases as you approach the ends of the rips.

 It is known that the stubs 1, 2 consist of a massive flat wooden or plywood triangle and straight wooden bars having a rectangle in section, glued to the deck. Plugs 1, 2 are placed at the corners of the resonance shield.

 Futor (Fig. 1) consists of longitudinal wooden bars 4, 5, 6, fastened together.

 Virbelbank 3 (Fig. 1) is a glued solid plank with holes for pegs holding the strings in tension.

 It is known that the plugs consist of a massive flat triangular wooden bar and a bar having a rectangle in cross section. A plywood or wooden plate glued along the wood fibers is attached to the side of the bar opposite from the deck. The purpose of the traditional stub is to reflect and limit the sound waves diverging along the deck in the corners of the resonant shield.

 The hollow acoustic plug (Fig. 4) consists of two plates 2, close or equal in area and configuration, not triangular in shape and located parallel or at an angle to one another. One of the planes is a continuation of the deck. The second plane is glued from coniferous, broad-leaved, exotic species of wood, or represents a combination of wood plates of equal hardness. Both planes are interconnected by wooden longitudinal bars-beams 12 (Fig. 4), diverging at different angles from one another and emanating from one point. Rays 12 divide the plug into sectors, each of which has a resonator hole facing down. Rays with their two sides connect the inner surfaces of the planes. The plane opposite to the deck can be replaced by a spherically convex, or concave (Fig. 7), or wavy figure.

 The purpose of the acoustic plug is to amplify wave processes and create a given acoustic effect. Having no analogues, an acoustic dummy is able to improve various designs of a resonant shield with a multifunctional spectral palette formed by vibrations of all components of an acoustic dummy.

 Between the rays from the inside or outside of the planes, wooden figures 13 are glued (Fig. 4): rhombuses, rectangles, triangles, circles, circles and other flat figures and reliefs. These figures or combinations of figures on one side are glued to the planes of the acoustic plug. The other side of the figures is not adjacent to the opposite plane, in contrast to the beam-rays 12 (Fig. 4). The figures do not have the function of connecting two planes of a hollow acoustic plug. The bar 20 (Fig. 2) is glued to the deck from the side of the strings.

 It is known that virbelbank is an array glued from three or more layers of wood with drilled holes for virbel, on which strings are attached. Acoustic virbelbank represents actually virbelbank 3 (Fig. 1), changed in the opposite direction with respect to the strings. The innovation is that the acoustic wirbelbank is actively involved in the operation of the resonance shield due to the fact that the back of the wirbelbank adjacent to the foot represents a complex, hollow inside, multi-stage structure made of wooden 14 (Fig. 1) and metal parts of various shapes. The wooden parts 14 (Fig. 1) of the hollow acoustic wirbelbank are glued to the glued mass of the back board and the upper binding of the foot 5 (Fig. 1) and sprays 6 (Fig. 1). Holes were drilled or cut in the back board to transmit vibrations to the external environment.

 The use of acoustic wirbelbank allows affecting the low-frequency region with the futor.

 The changes have a new fundamental character of the harmonic effect of Virbelbank not only with the futor, but also with a cast-iron frame, deck, side walls of the case.

 It is known that the futor is a structure (Fig. 1), consisting of several horizontally and vertically arranged bars 7, 4, 5 (Fig. 1), forming a rectangle around the outer perimeter. The Futor is designed to reinforce the cast-iron frame and prevent it from breaking and holding the wiredbank undergoing deformation from string tension. The middle whetstones 6 (Fig. 1) may intersect.

 Acoustic futor, unlike the traditional one, has a dual purpose. In addition to the supporting and supporting functions, the acoustic futor is designed to create the necessary gamut of overtones in the low and medium frequencies. The sound-forming role of this acoustic footer is that it is actively included in the overall resonant structure due to various innovations designed to perform not only the support function, but also to solve direct acoustic problems. The bars of the foot have holes 16, cutouts 17 (Fig. 1) and recesses of various kinds. To the bars of the foot, having the names "upper binding" and "sprays", in addition, wooden parts of various configurations 14 are glued (Fig. 1), metal structures of various shapes 14 are attached (Fig. 1).

 The new design of the footer allows you to suppress unwanted resonances of the deck. And, on the contrary, to strengthen, emphasize the necessary overtones of the resonant shield. This design of the foot allows you to solve complex acoustic problems that are impossible with the use of traditional foot.

 Resonance shields of a new design (Fig. 8) are made as follows. Between the coniferous bars 18, maple bars 19 are glued at certain acoustically advantageous nodes. Inserts from maple bars 19 dramatically change the overall sound spectrum. At the same time, maple inserts located at the corners of the deck can partially serve as stubs. The bars-inserts 18 can also be made from other types of wood, depending on the artistic and acoustic tasks.

 The design of a set of shield plots made of conifers located horizontally and alternating with inserts 19 is shown in FIG. 9.

 Such an arrangement of the plots of the shield implies a vertical arrangement of rips in relation to the upper and lower harnesses. Some rips are located at acute angles to vertical rips.

 In FIG. 1 shows virbelbank 3, consisting of sprays 4, 5, 7, 6.

 The middle strands 6 are cut into the upper strapping 5 and the lower strapping 4. The side strands have a milled recess, which plays an important role in the acoustic formant of the foot.

 Four middle pins 6 are arranged asymmetrically, creating a favorable background in the low-frequency region. On the sprays there are wooden figures 14, enhancing the desired resonances. The metal figures 15 perform the same function in combination with the adjustment of the balance by weight. In the sprays there are through holes 16 and recesses, supplementing the overtones with the main tone of the foot.

 In the upper part of the figure there is a virbelbank 3 with glued acoustic figures 14.

 An acoustic wirbelbank, in contrast to the prototype, is also equipped with metal figures 15. The metal figures 15 play the role of harmonic balance and connect various harmonics of the acoustic footer and acoustic wirbelbank into a single harmonic structure.

 In FIG. 2 shows rips 11, plugs 1, 2, treble bar 9, a bass rod 10, harmonic bar 20 glued to the deck. Stubs 1, 2 have soft oval lines in contrast to the prototype with straight lines. The dampers damp unwanted resonances that occur at the corners of the deck.

 In FIG. 3 shows a figure representing the lower part of an acoustic plug facing the piano floor. The angular flat part of the deck is position 28, the opposite plane is 29. Wooden beams-beams connect both planes. Figures 13 complement the overall sound background of the stub, causing discordant intervals.

 In FIG. 4 shows the plane of the acoustic plug. A slender system of bars-rays 12 in combination with figures 13 allows you to achieve the necessary sound effects.

 In FIG. 5 shows a resonant shield 8 with rips 11, bars-rays 12. On the opposite side of the resonant shield 8 is a harmonic wooden block 20.

 To the feet 7 spiers are attached handles for carrying the piano.

 At the top of the figure is a virbelbank.

 At the ends of some rips 11, cut into the bindings of the foot 4, 5, unlike the prototype, which has one cut, stepped double and triple bevels are milled. Ripki differ in height one relative to another and in profile in cross section.

 In FIG. 6 depicts figures relating to a given rip configuration system in section.

 Various options rip 11 in section 22, 23, 24, 25, 26, 27, in addition to the traditional prototype, pos. 21 actively affect the radiation spectrum of the deck.

 In FIG. 7 shows one of the options for a hollow acoustic plug in cross section: 8 - part of the deck, 2 - hemisphere, 12 - bars-rays, 13 - acoustic shapes, 11 - rips.

 In FIG. 8 shows a resonant shield 8 assembled from bars 18 with bar inserts from other wood species located at an angle to the side edges of the resonance shield.

 In FIG. 9 shows a resonance shield 8 assembled from bars 18 with inset bars from other wood species parallel to the lower and upper edges of the resonance shield.

 In FIG. 10 shows a variant of unconventional manufacture of rips 11 (side view), the ripka has no cuts at the ends.

 In FIG. 11 shows a variant of the shape of ripka 11 (side view), the ripka has 2 to 3 bevels at the ends.

 When playing a musical instrument, the design of which includes the above structural elements, its acoustic characteristics increase.

 Industrial applicability.

 The invention can be used in the manufacture of musical instruments.

Claims (1)

 The design of a musical instrument, consisting of the main sound-generating units, including acoustic plugs, a wirbelbank with a back board, a futur in the form of bars and a resonant unit with a shield, rods and rips, characterized in that the plugs consist of plates located parallel or at an angle to one another, similar or equal in area and configuration and interconnected by wooden longitudinal bars-beams, between which on the inside there are wooden figures in the form of rhombuses, a rectangle s, the back of the viberbank adjacent to the foot consists of a hollow multi-stage structure formed of wooden and metal parts of various shapes, and holes are formed in the back board for transmitting vibrations to the external environment, one of the stub plates made of glued coniferous, broad-leaved, exotic wood species or from a combination of wood species of different hardness, and holes, cutouts and recesses of various types are made in the bars of the foot to create the necessary gamut of overtones in the field low and medium frequencies, while in the resonance shield between the coniferous bars the wedge bars are glued to change the overall sound scale.

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