DE102022100260A1 - Modular, electromechanical piano preparation system - Google Patents

Abstract

The present invention relates to a sound modulation system for a stringed instrument such as an upright or grand piano. In order to create a sound modulation system for a stringed instrument such as an upright or grand piano that is suitable for use on stage and on tour, and that gives the performing pianist a significantly greater variety of sound modulation possibilities that he can use at will while playing, it is proposed that the System comprises at least one sound modulation bar which, when assembled, extends longitudinally across one or more strings and carries a material along at least part of its longitudinal extent which, when in contact with the strings of the upright or grand piano, modulates the natural sound of the strings, wherein under " Sound modulation” is to be understood in a broader sense as a change in the sound of the original sound, with the sound modulation strip being mechanically coupled or connected to a drive system and being able to be pressed onto the strings by the drive, and with the drive system being fitted in the immediate vicinity of the strings , contains an electromotive drive, which can be stepwise or analogously steplessly positioned, and thus a struck tone can be modulated very finely with sufficiently small steps, and the positioning of the drive can be programmed and controlled via a microcontroller. Preferably, several sound modulation strips are contained in a sound modulation module (20) that can be universally assembled and disassembled for various grand pianos.

Description

The present invention relates to a sound modulation system for a stringed instrument such as an upright or grand piano.

STATE OF THE ART

Ever since the grand piano has existed in its current form, efforts have been made to expand the sound of this instrument. Previous designs on this subject aim to attach a single, specific, sound-changing material to one or at most two specific locations on the grand piano. In this way, only one specific additional sound of the grand piano can be generated. These are usually permanently installed devices adapted to certain grand piano models, which can be switched on or off using a lever or pedal. The US patent application is an example U.S. 2017/0132992 A1 called, which generates flageolet tones via punctiform damping elements. However, it can only be used on stage to a very limited extent, as the assembly is very complex.

• Zum Einen benötigt die Dämpferleiste zwei außenseitige Führungen, die in die Segmentbreite des jeweiligen Gussrahmens eines Flügels passen müssen. Dies schränkt bereits die Nutzung auf der Bühne mit den dort bereits vorhandenen Konzertflügeln ein.

Even transportable systems are elaborately adapted to certain models and are therefore not very flexible and unsuitable for touring with changing instruments. An example of this is in WO 2019 / 083462 A1 disclosed. There the overtones should be dampened for a predefined string range such as one or two octaves. The player should press a pedal as an "actuator" that controls a "movable element" via a mechanical, electrical or wireless connection, which then sets a damper bar in motion, which in turn moves towards the specified string area and up presses the strings and thus dampens them as desired. This system has some disadvantages:

• On the one hand, the damper strip requires two external guides that must fit into the segment width of the respective sprue of a wing. This already limits the use on the stage with the concert grand pianos already available there.

Furthermore, the overall construction and especially the mechanics of exerting pressure on the strings is too complicated to be useful for reliable use on tours with many assemblies and disassemblies on a wide variety of concert grands, because the system represents a coherent mechanical apparatus and has with the movable element, with a return spring, which is intended to free the strings from the damping again and which therefore permanently acts against the damping force, with the two external guides mentioned and finally with the drive options mentioned there, a mechanical, or alternatively a hydraulic or pneumatic drive or one electromagnet as a drive too many system elements that have to be precisely matched to each other in order to function. The system therefore lacks the easy adaptability and practicality to be able to quickly assemble and disassemble it on the concert grand pianos of different stages.

Furthermore, the drive alternatives mentioned are not well suited: A hydraulic drive can always lose fluid, which must be strictly avoided with a musical instrument. Pneumatic actuation is almost always associated with loud operating noises, which is particularly annoying during quiet passages of the musical presentation. The aforementioned electromagnet cannot be used to dampen the strings in a finely dosed manner, as it either attracts or does not attract the "moving element".

Another, very significant disadvantage is that this system can only be used very little flexibly musically, because once the basic setting of the damping strips has been made, it is difficult to change during a concert and cannot be changed by the pianist himself during a piece, as this requires a lot of conversion work required, because the assignment of the pedal to the damper bar and the effect of the different pedal positions on the damper bar/s is rigidly built into the system.

The composer John Cage took a different approach when it came to the variety of sounds on his instrument and prepared the concert grand piano with several different materials, such as metal or rubber, at several different points on the instrument. In this way he achieved a wide range of different sounds, which he elicited from the concert grand piano. He called this procedure "Prepared Piano" and wrote numerous compositions for this extended instrument.

The major limitation of his method is the rigid, extremely inflexible way of attaching the sound-changing materials. It is only possible to a very limited extent to change the sound setup in the middle of a composition. The preparation of the grand piano takes some time and has to be set up in a complex manner.

To counteract this problem, many contemporary pianists use their hands to manipulate one or more piano strings with one hand while pressing one or more keys with the other. Various sound-changing materials are also used with one hand on the Piano strings laid or pressed, which represents the considerable limitation of being able to use only one hand to play the keyboard or severely limiting spontaneous playing.

The object of the present invention is therefore to create a sound modulation system for a stringed instrument such as a piano or grand piano that is suitable for use on stages and tours, and that gives the pianist performing in concert a significantly greater variety of sound modulation options, which he can use at will while playing can use.

ADVANTAGES OF THE INVENTION

The subject of the invention with the features of claim 1 solves this problem.

Advantageous further developments and improvements of the respective subject matter of the invention can be found in the dependent claims.

According to a first aspect, the present invention discloses a sound modulation system for a stringed instrument such as an upright or grand piano,
whereby
the system comprises at least one sound modulation bar which, when assembled, extends longitudinally across one or more strings and carries along at least part of its longitudinal extent a material which, when in contact with the strings of the upright or grand piano, modulates the natural sound of the strings, wherein under "Sound modulation" in a broader sense is to be understood as a change in the sound of the original sound, i.e. by far not just an attenuation of the sound of the original sound,
wherein the sound modulation bar is mechanically coupled or connected to a drive system and can be pressed onto the strings by the drive.

1. a) das Antriebssystem, das in unmittelbarer Nähe der Saiten angebracht ist, einen elektromotorischen Antrieb enthält, der schrittweise - dabei sind die feinen Schritte einer digitalen Ansteuerung von Steuerwerten beispielsweise von 0 bis 15, oder von 0 bis 63, oder bei derzeit üblichen Auflösungen von 0 bis 1023 gemeint- oder analog stufenlos positionierbar ist, und damit bei ausreichend kleinen Schritten einen angeschlagenen Ton sehr fein dosierbar modulieren kann,
2. b) und die Positionierung des Antriebs über einen Microcontroller, wie zum Beispiel vom Typ „Arduino“ programmierbar und kontrollierbar ist.

The present invention is now characterized in that

1. a) the drive system, which is attached in the immediate vicinity of the strings, contains an electric motor drive which, in steps - the fine steps of a digital control of control values are, for example, from 0 to 15, or from 0 to 63, or at currently customary resolutions of 0 to 1023 or can be steplessly positioned analogously, and thus can modulate a played tone very finely with sufficiently small steps,
2. b) and the positioning of the drive can be programmed and controlled via a microcontroller, such as the “Arduino” type.

Compared to the last-mentioned state of the art, which works with magnets for electrical control and does not allow finely adjustable damping, the use of stepper motors or technically comparable solutions, such as classic servo motors and finely adjustable linear actuators, offers some significant advantages in terms of flexibility and musical applicability .

1. 1. Wenn bei einem beispielsweise zwei komplette Oktaven überspannenden Klangmodulationsmodul 25 Töne - beim Flügel pro Ton 3 Saiten - zusammen also 75 Saiten niedergedrückt und damit moduliert werden sollen, benötigt man eine durchaus beträchtliche Kraft. Die hierfür benötigte Kraft zur Klangmodulation wird erfindungsgemäß aber im Motor selbst erzeugt, der Pianist muss lediglich die Steuerung dieser Kraft übernehmen. Dadurch ist für den Pianisten im Vergleich mit dem Stand der Technik nur ein sehr geringer Kraftaufwand zur Betätigung notwendig.
2. 2. Insbesondere mithilfe von Schrittmotoren, die über ein relativ zu anderen Antrieben hohes Haltemoment verfügen, kann ein während der Bewegung des Schrittmotors erreichter Modulierungszustand des Niederdrückmechanismus gehalten werden, und somit quasi „eingefroren“ werden. Ein Halten durch den Benutzer ist nicht notwendig, Finger oder Füße des Klavierspielers können das jeweilige Kontrollelement, wie zum Beispiel ein Schiebe- oder ein Drehregler, oder ein Pedal bei Bedarf in jeder gewünschten Position loslassen. So bleibt für den Pianisten mehr Freiraum, um die eigentlichen „Ton“-Tasten des Instruments virtuos zu betätigen. Weiter kann beim Konzertflügel mit dem linken Fuß das dritte eingebaute klassische Flügelpedal betätigt werden, während die Klangmodulationen erhalten bleiben.
3. 3. Bei Verwendung mehrerer Klangmodulationsmodule, die am zweckmäßigsten von jeweils ihrem eigenen Microcontroller gesteuert werden, - weiter unten werden dazu mehr Details beschrieben - können den einzelnen Klangmodulationsmodulen erfindungsgemäß beliebige Kontrollelemente, hier auch als Bedienelemente bezeichnet, zugeordnet werden. Über eine entsprechende Schaltmatrix kann diese Zuordnung schnell und flexibel während des Klavierspiels „verwaltet“ werden. Damit ist für den Pianisten der Weg geebnet, das Klangspektrum seines Instruments dynamisch während eines gespielten Stücks sehr vielfältig, aber selbst bei hoher Komplexität der Modulationen und der entsprechenden Eingriffe der Modulationsleisten in das Saitenbild immer noch auf sehr einfache Weise zu modulieren.

As with mechanical drive systems, which are also mentioned in the state of the art last cited, the stepping motors mentioned, whether they are designed as rotary actuators or linear actuators or also in the case of servomotors with a closed control loop and greater control complexity, have a high-resolution dosing capability that has a central prerequisite for a nuanced musical expression. In addition, however, on closer inspection there are surprisingly significant advantages compared to the mechanical drives as in the prior art, which are briefly explained below and additionally described in the exemplary embodiments:

1. 1. If, in a sound modulation module spanning two complete octaves, for example, 25 tones - 3 strings per tone in the case of a grand piano - together 75 strings are to be depressed and thus modulated, a considerable amount of force is required. According to the invention, however, the power required for sound modulation is generated in the motor itself; the pianist only has to take control of this power. As a result, the pianist only has to exert a very small amount of force for actuation in comparison to the prior art.
2. 2. With the help of stepper motors in particular, which have a high holding torque relative to other drives, a modulation state of the depressing mechanism reached during the movement of the stepper motor can be maintained and thus “frozen”, as it were. It is not necessary for the user to hold it, the piano player's fingers or feet can release the respective control element, such as a slider or rotary controller, or a pedal, if required, in any desired position. This leaves more freedom for the pianist to operate the actual "sound" keys of the instrument with virtuosity. Furthermore, the third built-in classic grand piano pedal can be operated with the left foot on the concert grand piano, while the sound modulations are retained.
3. 3. When using several sound modulation modules, which are most appropriately controlled by their own microcontroller - more details are described below - the individual sound modulation modules according to the invention can be assigned any control elements, also referred to as operating elements. This assignment can be “managed” quickly and flexibly while playing the piano using a corresponding switching matrix. This paves the way for the pianist to dynamically modulate the sound spectrum of his instrument in a very varied way while playing a piece, but still in a very simple way, even with highly complex modulations and the corresponding interventions of the modulation bars in the string pattern.

When using the invention, the pianist actuates a pedal or another control element, such as a rotary control or a slider, in order to use the modulating system and to press the sound modulation bar onto the string section assigned to the sound modulation bar in a finely metered manner and depending on the material used, the sound makes contact with the strings, and to change it depending on the "dose" of the impact on the strings. This change is referred to herein as "modulating". This controlling operating movement is preferably conducted via an electrical cable line to the microcontroller, which in turn forwards an electrical control pulse that corresponds exactly to the operating movement to the actuator of the drive system, also preferably via an electrical cable connection. The actuator is mechanically closely coupled to the sound modulation bar and, according to the operating movement, presses the sound modulation bar onto the string section that corresponds to the engagement length of the sound modulation bar. Details are described further below. The actuator within the meaning of the invention is therefore not to be understood in the same sense as the “actuator” in the last-mentioned prior art, which corresponds to the “control element” used here.

The drive system including the sound modulation bar is preferably attached to the cast frame of the instrument using a suitable rail system that can be attached with Velcro strips to one spar or to two opposite spars of the cast frame for easy access above the plane formed by the strings. The attachment is so free of play that the pianist's finely adjustable operating movements are transmitted to the strings with essentially no mechanical slippage. Details of this are described in more detail below.

If the sound modulation system according to the invention has a number of sound modulation bars, each of which can be positioned via a microcontroller separately assigned to them and cover different string areas, then the artistic sound modulation possibilities are considerably expanded. For example, one tone modulation bar can modulate the sound of three octaves in the middle key range and another, separately controllable tone modulation bar, the sound of another octave in the adjacent higher range. In principle, there is no connection to octave limits.

The real potential comes when certain of the several existing sound modulation bars with individually definable modulation levels can be stored as so-called "presets" in a memory of a control device that contains the several microcontrollers and can be called up spontaneously during play, for example with a dedicated button or switch or a pedal of the present invention. In principle, numerous sound modulation bars and numerous control elements can be used, which can be switched and linked in any combination you like: For example, two sound modulation bars in the bass range, three in the middle range and three again in the treble range. For example, in a particular preset, recalled by pressing a dedicated button or switch or pedal, the activation of the lower of the two bass tone modulation bars, as well as the lowest mid-range tone modulation bar, is switched together to a Pedal A, and the remaining bass tone modulation bar is switched together with switched to Pedal B with the remaining two tone modulation bars in the mid range. The player can then press pedal A alone, or pedal B alone, or pedals A and B together, or neither press pedal A nor pedal B during play. This can certainly happen in quick succession, and causes sound changes and a new kind of dynamics in the middle of the game, which are only possible by means of the invention.

Due to the simple and variable attachment of the sound bars to the rail system, the same string area can in principle be modulated at several points by separately attached sound modulation bars, for example near the clamping of the string and at the same time approximately in the middle of the clamped string length.

Since all of these sound modulation bars can be controlled separately by their associated microcontrollers, and these can be freely selected together or individually or in any combination of a control element or several individually or in groups can be selectively activated and deactivated and gradually used sensitively, according to the invention there is a corresponding switching matrix that allows a freely configurable assignment between a control element and any combination of sound modulation bars. This makes the invention a powerful tool for composers and pianists, who can fluently and finely press different keys or pedals while playing in different passages of their piece, each of which can produce its own specific sound across the entire keyboard. Due to the quick and easy retrieval of presets, quick changes or slow and continuous changes between various "sound images" during the game can be easily implemented. In order to turn the grand piano back into a "normal", non-modulated grand piano, a "general-OFF" button or switch is preferably provided on the control unit, which deactivates all sound modulation bars at the same time and moves them away from the strings.

If the drive system for a sound modulation module and a guide arrangement assigned to it are arranged essentially in the middle of the longitudinal extent of the sound modulation strip, and the drive force is transmitted to the strings of the instrument, in particular via a hinge joint with an axis parallel to the strings, this results in a uniform pressure all the strings spanned by the module, and there is no need for guide arrangements at the two ends of the sound modulation bar. This, in turn, enables the sound modulation modules, together with the respective drive system, to be fastened to the cast frame of the instrument in a structurally simple manner. This results in further significant advantages, such as quick assembly and disassembly of the sound modulation modules on the cast frame and the great advantage that the attachment of the sound modulation modules fits practically all grand pianos used in professional concerts.

If the respective sound modulation strip is an elongate component, in particular a stable metal or plastic rail, this results in an expedient configuration of the sound modulation modules.

If the sound modulation system according to the invention contains an electronic control system, then there are diverse, freely variable switching options between operating elements and freely assignable sound modulation modules.

If the control system has a suitable memory, various of the switching options mentioned can be stored as presets and called up very easily during the game, for example by pressing a button or other control element. Preset sequences with a number of presets can be saved and called up serially, for example, by pressing the button again. Likewise, presets that are popular or individually preferred by the pianist, possibly piece-independent, can be saved and called up and activated using dedicated buttons.

If the sound modulation system has at least one slider or rotary control or a pedal for continuously bringing one or more sound modulation modules into contact with the corresponding area(s) of the strings, this results in a fundamentally suitable, finely controllable control option for the controlled adjustment of the intended sound modulation effect.

In order to fasten a sound modulation module to the cast frame of the instrument rigidly enough, frame rails are advantageously provided according to the invention, which can be fastened to the cast frame of a grand piano or upright piano, for example with Velcro strips, and which have a fastening device for one or more system carrier rails, which in turn have a receptacle for fastening of drive system and material carrier rail. The frame rail and the material carrier rails preferably each have longitudinal slots for accommodating screw connections with one another. In this way, the sound modulation modules can be mounted and dismounted in any number on almost any concert grand piano quickly, mechanically stable, robustly and without damage to the instrument with a few standardized fastening sets that contain the rails mentioned. The system according to the invention is therefore also suitable for touring.

The present invention thus discloses a modular system that can modulate the concert grand piano in a spontaneous form that can be directly integrated into the piano playing at any point with any materials in the sound and, through the use of microcontrollers, constellations that can be stored and called up, presets of the sound-modulating system elements as well as provides a flexible controller matrix.

The sound modulation system according to the invention contains a number of electromechanical sound modulation modules that can be handled flexibly and that can be variably mounted in the concert grand piano, preferably via a rail system and preferably can bring different sound-altering materials into contact with or press against the piano strings 14. The sound modulation modules 20 are preferably sensitively and precisely controlled via microcontrollers and various control elements, such as pedals 22 and flat track controllers.

The sound modulation system according to the invention is expandable, light and transportable, can be quickly adapted to any grand piano and is therefore fully suitable for the road, studio and stage.

1. 1. Eine Vielzahl klangverändernder Materialien (Holz, Metall, Gummi, Kunststoff etc.) können an verschiedenen beliebigen Stellen des Konzertflügels angebracht werden.
2. 2. Diese klangverändernden Materialien können mit dem Fuß spontan ins Spiel eingebracht und wieder herausgenommen werden, damit beide Hände zum Tastaturspiel freibleiben.
3. 3. Dabei kann die Modulationstiefe sensibel, feinfühlig und genau bestimmt werden, um den Grad der Klangmodulation musikalisch dosieren und fließende Übergänge schaffen zu können.
4. 4. Es gibt die Freiheit, eine flexible Anzahl unterschiedlicher klangverändernder Materialien einer flexiblen Anzahl unterschiedlicher Kontrollelemente wie Pedale und Regler zuordnen zu können.
5. 5. Die unterschiedlichsten Kombinationen dieser Zuordnungen können abgespeichert und spontan abgerufen werden, damit sie innerhalb eines Stückes ins Spiel integriert werden können. Das heißt, eine große Bandbreite von Klang- und Kontrollkombinationen ist über Presets handhabbar.
6. 6. Die klangverändernden Systeme sind klein, leicht und somit gut transportierbar, um für den Studio- und Konzertbetrieb geeignet zu sein.
7. 7. die klangverändernden Systeme sind in kurzer Zeit an alle gängigen Flügelmodelle anpassbar und an diesen montierbar.

At least the following advantages result from the proposals according to the invention:

1. 1. A variety of sound-changing materials (wood, metal, rubber, plastic, etc.) can be attached to any desired location on the grand piano.
2. 2. These sound-changing materials can be inserted and removed with the foot on the fly, leaving both hands free for playing the keyboard.
3. 3. The modulation depth can be determined sensitively, delicately and precisely in order to musically dose the degree of sound modulation and create smooth transitions.
4. 4. There is the freedom to map a flexible number of different sound-changing materials to a flexible number of different controls such as pedals and knobs.
5. 5. The most diverse combinations of these assignments can be saved and called up spontaneously so that they can be integrated into the game within a piece. This means a wide range of sound and control combinations can be handled via presets.
6. 6. The sound-changing systems are small, light and therefore easily transportable in order to be suitable for studio and concert use.
7. 7. the sound-changing systems can be quickly adapted to and mounted on all standard grand piano models.

character list

• 1 zeigt ein Ausführungsbeispiel eines erfindungsgemäßen Klangmodulationssystems mit zwei Klangmodulationsmodulen eingebaut an einem Konzertflügel, in einer perspektivischen Ansicht von schräg oben.
• 2 zeigt einen Ausschnitt aus 1 von oben mit Fokus auf die Klangmodulationsmodule.
• 3 zeigt ein Klangmodulationsmodul mit vertikal bewegter Antriebsachse in einer perspektivischen Ansicht von schräg oben mit Befestigung an zwei nur abschnittweise dargestellten gegenüberliegenden Rahmenholmen eines Flügels.
• 4 zeigt das Klangmodulationsmodul aus 3 in einer Vorderansicht auf den in 3 dargestellten Abschnitt der Rahmenholme des Flügels.
• 5 zeigt das Klangmodulationsmodul aus 3 in einer seitlichen Ansicht auf den in 3 dargestellten Abschnitt der Rahmenholme des Flügels.
• 6 zeigt ein Klangmodulationsmodul mit horizontal bewegter Antriebsachse in einer perspektivischen Ansicht von schräg oben mit Befestigung an einem Rahmenholm eines Flügels.
• 7 zeigt das Klangmodulationsmodul aus 6 in einer seitlichen Ansicht.
• 8 zeigt das Klangmodulationsmodul aus 6 in einer Ansicht von oben.
• 9 zeigt die Bedienoberseite ein Ausführungsbeispiels eines Kontrollpults für das in den 1 bis 8 gezeigte Ausführungsbeispiel.
• 10 zeigt die Rückseite mit Anschlussbuchsen für das Kontrollpult aus 9.
• 11 zeigt ein weiteres Ausführungsbeispiel eines Klangmodulationsmoduls mit vertikal bewegter Antriebsachse und einer sogenannten Klangschürze, die durch eine separate Schiene gebildet ist.
• 12 zeigt das Modul aus 11 in einer Vorderansicht.
• 13 zeigt das Modul aus 11 in einer seitlichen Ansicht.
• 14 zeigt eine beispielhafte Schaltmatrix gemäß Erfindung, die eine bestimmte erste Schaltkonfiguration zeigt, bei der vier Modulationsmodule vier Schiebreglern und zwei Pedalen zugeordnet sind, bei Steuerung über ein Kontrollpult.
• 15 zeigt eine beispielhafte Schaltmatrix gemäß Erfindung, die eine bestimmte zweite Schaltkonfiguration mit einer anderen Zuordnung und mit einer anderen Einstellung der Bedienelemente als in 14 zeigt.
• 16 zeigt eine beispielhafte Schaltmatrix gemäß Erfindung, die eine bestimmte dritte Schaltkonfiguration zeigt, bei der acht Modulationsmodule acht Schiebreglern und zwei Pedalen zugeordnet sind, bei Steuerung über zwei miteinander verbundene Kontrollpulte.

Embodiments of the invention are shown in the drawings and explained in more detail in the following description.

• 1 shows an embodiment of a sound modulation system according to the invention with two sound modulation modules built into a grand piano, in a perspective view diagonally from above.
• 2 shows a section 1 from above with focus on the sound modulation modules.
• 3 shows a sound modulation module with a vertically moved drive axis in a perspective view obliquely from above with attachment to two opposite frame spars of a grand piano, shown only partially.
• 4 indicates the sound modulation module 3 in a front view on the in 3 illustrated section of the frame spars of the wing.
• 5 indicates the sound modulation module 3 in a side view of the in 3 illustrated section of the frame spars of the wing.
• 6 shows a sound modulation module with a horizontally moved drive axle in a perspective view obliquely from above with attachment to a frame spar of a grand piano.
• 7 indicates the sound modulation module 6 in a side view.
• 8th indicates the sound modulation module 6 in a top view.
• 9 shows the operator top an embodiment of a control panel for in the 1 until 8th shown embodiment.
• 10 shows the back with connection sockets for the control panel 9 .
• 11 shows another embodiment of a sound modulation module with a vertically moving drive axis and a so-called sound apron, which is formed by a separate rail.
• 12 shows the module 11 in a front view.
• 13 shows the module 11 in a side view.
• 14 Figure 12 shows an exemplary switch matrix according to the invention showing a particular first switch configuration in which four modulation modules are associated with four sliders and two pedals when controlled from a control panel.
• 15 shows an exemplary switching matrix according to the invention, which has a specific second switching configuration with a different assignment and with a different setting of the control elements than in 14 shows.
• 16 Figure 12 shows an exemplary switch matrix according to the invention showing a particular third switch configuration in which eight modulation modules are associated with eight sliders and two pedals, when controlled via two interconnected control panels.

DESCRIPTION OF THE EXEMPLARY EMBODIMENTS

In the figures, the same reference symbols denote the same components or components with the same function.

1 shows an embodiment of a sound modulation system according to the invention with two sound modulation modules 20 built into a grand piano, in a perspective view obliquely from above.

2 shows a section 1 from above with focus on the sound modulation modules 20.

The inventive sound modulation system according to a first embodiment for sound modulation is with reference to 1 and 2 preferably modular. A flexible number of electromechanical sound modulation modules 20 - two pieces in 1 and 2 - can be positioned flexibly inside the concert grand piano.

• An dem Gussrahmen 15 werden drei mit Längsschlitz versehene Rahmenschienen 16, lackschonend mithilfe von Klettbändern 18 (3) parallel zu den Rahmenholmen des Gussrahmens an der Stelle angebracht, an der der Klang moduliert werden soll. Eine mit Längsschlitz versehene Systemträgerschiene 1 wird jeweils zwischen zwei gegenüber liegenden Rahmenschienen durch Sachraubverbindungen über stabile Lochblechstreifen, die als Verbindungslaschen 13, 17 dienen, befestigt, so dass sie den zu modulierenden Saitenbereich überstreckt. Jedes der beiden Klangmodulationsmodule 20 ist mittels seiner ihm zugeordneten Systemträgerschiene 1, eines in dem Längsschlitz der Systemträgerschiene 1 beweglichen und fixierbaren Systemträgerschlittens 2 und der Verbindungslaschen 13, 17 variabel verschiebbar gelagert und an verschiedensten Positionen im Flügelinnenraum fixierbar.

For assembly and disassembly on an existing wing:

• On the cast frame 15, three frame rails 16 provided with a longitudinal slot are fastened to the paintwork with Velcro strips 18 ( 3 ) placed parallel to the spars of the sprue at the point where the sound is to be modulated. A system carrier rail 1 provided with a longitudinal slot is fastened between two opposite frame rails by screw connections using stable perforated metal strips that serve as connecting lugs 13, 17, so that it extends over the string area to be modulated. Each of the two sound modulation modules 20 is variably mounted by means of its assigned system carrier rail 1, a system carrier slide 2 that can be moved and fixed in the longitudinal slot of the system carrier rail 1, and the connecting straps 13, 17 and can be fixed at various positions in the interior of the grand piano.

Two pedals 22 are electrically connected to a control panel 21 by means of connecting cables 23 . The control panel contains sockets and sliders, as well as all the electronics for controlling the sound modulation system according to the invention. This is discussed in more detail below.

The following is an additional reference to the 3 until 5 referenced.

3 shows a sound modulation module 20 with a vertically moved drive axis in a perspective view obliquely from above, with attachment to two opposite frame members 15 of a grand piano, shown only partially.

4 indicates the sound modulation module 3 in a front view on the in 3 illustrated section of the frame spars of the wing.

5 indicates the sound modulation module 3 in a side view of the in 3 illustrated section of the frame spars of the wing.

The sound modulation modules 20 are each provided with a quickly and easily exchangeable material carrier rail 10 for sound material, which is each equipped with different sound-changing materials 11 and can thus generate the described sound bandwidth by modulating the strings 14 in a very widely variable manner. Such materials can be, for example, rubber or silicone of different shore hardness or felt-like, textile materials, but also harder materials. The materials themselves are applied as strips to the existing material carrier rails, preferably by gluing or using a Velcro strip.

In the example, the material carrier rail 10 is driven directly by a stepper motor 4 via a single, centrally located drive axle, ie it is moved up and down. The electrical connections on the stepper motor are not shown. Due to this central guidance of the drive without additional fastening elements, lateral guides or return systems, the material carrier rails 10 can be flexibly designed in their length, shape and alignment and, depending on their installation location, in a simple and standardized way, so that they can be mounted on almost all wings.

In the example, the central drive axis consists essentially of a threaded spindle 5), which moves up and down on the vertical axis when an electric motor 4 is actuated, which is implemented here as a stepper motor, a guide rail 6 and a guide carriage fastened to a guide block 8 7. The guide rail 6 is firmly connected to a system carrier carriage 2, which in turn is firmly connected to the system carrier rail 1 by means of two carriage guide brackets 19 arranged to the right and left of the central drive. The system carrier rail 1 is laterally outside each relatively long trained connecting straps 17 with their Position corresponding frame rail 16 connected These connections mentioned are effected in the example by Allen screws, which engage from above through the respective strap holes and are clamped against a nut, which is mounted in a respective longitudinal slot of the respective rail against rotation. The frame rails 16 are fastened to a suitably positioned spar 15 of the cast frame by means of several Velcro strips 18 .

Due to their rigid fastening and their rigid connection to the cast frame 15, the guide rail 6), the guide block 8 and the guide carriage 7 prevent twisting of the material carrier rail 10) when the spindle 5 is moved by a motor.

The exchangeable material carrier rails 10 are also modular in the example. A central element 10 can be extended by extension rails 12, which can be attached in different lengths and angles to the ends of the central element via screwable connection lugs 13.

The system elements mentioned above, consisting of rails with a longitudinal slot that accommodates a nut and connecting brackets with multiple holes and the appropriate screws, enable quick and inexpensive adaptation to any wing model with different symmetries of the cast frame. With an easy-to-carry selection of so-called central and attachment rails, an on-site adjustment to different sash types and different symmetries of the sash frames can be carried out using a single Allen key. With the appropriate design of the screws as wing or knurled screws, the complete sound modulation system can even be assembled, adjusted and disassembled without tools.

At the transition point between the drive axle formed by the threaded spindle 5 and the material carrier rails 10 there is a hinge 9 with an axis parallel to the strings. Due to its mobility, the pressure of the drive axle coming from above is distributed evenly on the material carrier rail 10, whereby the material carrier rail 10 and the sound-changing materials 11 automatically press the piano strings 14 evenly over the entire length of the material carrier rail 10. As a result, the sound modulation desired according to the invention is effected reliably and uniformly in the string section, even with rapid up and down movements of the drive axle.

The following is with the 6 until 8th another embodiment described.

6 shows a sound modulation module with a horizontally moved drive axle in a perspective view obliquely from above with attachment to a frame spar 15 of a grand piano.

7 indicates the sound modulation module 6 in a side view.

8th indicates the sound modulation module 6 in a top view.

The 6 until 8th show a variant of the sound modulation module 20 in a horizontally aligned design 20). A guide rail 7 , which supports the material carrier rail 10 in a positionally stable and rigid manner via a connecting bracket 46 folded over by 90°, is driven by a toothed rack 45 via a stepper motor 4 with gear 43 and spur gear 44 . This horizontally oriented sound modulation module 20 performs the same functions as the vertical variant described above and is compatible with the same material carrier rail 10.

The flat design of the horizontal sound modulation module 20 allows the normal use of the music stand of the concert grand piano, which is not usually possible when using the vertical sound modulation module 20 at this position of the grand piano.

This horizontally aligned sound modulation module 20 can be connected via a flat, soft damping element 3), a suitable support plate angled as a system support bracket 42, as well as a folded support sheet that rigidly connects the support structure to the cast frame as a frame angle 41 and Velcro strips 18 that tightly surround this frame bracket be attached very stably directly to the sprue 15 of the wing. Various wing models do not have a corresponding strut of the sprue at this point 15). In this case, the horizontal sound modulation module 20 can also be attached to a system carrier rail 1 and operated with the help of the frame bracket 41 rotated through 180 degrees.

9 shows the operator top an embodiment of a control panel for in the 1 until 8th shown embodiments.

10 shows the back of the control panel 9 with connection socket 31 for a power pack, two connection sockets 32 for two pedals, connection socket 33 for an auxiliary input (AUX IN) such as a button or toggle switch, a connection socket 34 for an auxiliary output (AUX OUT) for the output of a control signal to another control panel, and four Connection sockets 35 for the Signal lines for driving four sound modulation modules 20.

With additional reference to 9 and 10 the individual sound modulation modules 20 are electrically actuated and electronically controllable. In the present exemplary embodiments, stepper motors 4 of a so-called “non-captive” design are used, but other electromechanical actuators/linear actuators can also be used, provided they can be electronically controlled, positioned precisely, powerful enough and can be metered finely enough. Stepper motors represent a technically sufficient and cost-effective solution.

The electronic circuit for controlling the respective sound modulation modules 20 is built into a control panel 30 . Control is via microprocessors, in the present embodiment via four commercially available and easily programmable “Arduino” processors of the “Nano” type, which can process signals from external control elements and pass them on to the sound modulation modules 20 . The stepper motors 4 are directly controlled via dedicated stepper motor drivers, which enable the stepper motors to run precisely and quietly.

One or more commercially available pedals 22 can be connected to the microprocessors as controllers, such as expression or volume pedals.

Controllers such as a motorized fader 36 and a button 37 are also connected as control elements and installed in the control panel 30 . The sound modulation modules 20 can preferably be freely assigned to a controller, so that they can either be controlled via one or more foot pedals 22 (leaving your hands free to play) or assigned to a motor fader 36, which can be finely adjusted and performed during the game can manually move to a specific position desired by the pianist.

All fader and module positions, as well as the status of the buttons 37, can easily be stored as presets and called up again via the microprocessor. Each preset then corresponds to a specific “play position” of the respective modules 20. For this purpose, a touch display 38 is installed in the control panel 30 in an exemplary embodiment that is not shown. For example, a module 20 mounted in the bass range can be moved 150 steps in the direction of the strings, starting from a precisely defined zero position in which there is no sound modulation due to the lack of contact between the sound material and the strings, whereby steps 1 to 119 bring the sound material closer together to the strings and then steps 120 through 150 apply steadily increasing pressure to the strings.

External buttons can also be used to switch several presets predefined in this way, preferably by foot. In 9 The flat path controllers shown can be designed as motorized faders 36, which enable the preset mode to be implemented particularly efficiently.

The control panel 30 is also preferably implemented in a modular manner. To a basic unit as in 9 and 10 shown, for example, can operate four motors, further units can be switched on if there is a need for it from an artistic point of view, in order to operate further sound modulation modules 20, which can be installed elsewhere in the "string pattern". For example, the bass range or the treble range can also be modulated entirely or only in certain string ranges. Or, in the same string area, a sound modulating module 20 is mounted approximately in the middle of the grip length and another module 20 is mounted near the grip of the strings to produce a different sound.

The controller line for the connected pedals 22 can optionally be looped through via the cable connections 33, 34.

The individual sound modulation modules 20 are small and light, and the control panel 30 is compact. The result is a portable, adaptable, and, compared to the state of the art, flexible sound expansion and sound modulation system for concert grand pianos that is suitable for use in studios and on stages.

11 shows another embodiment of a sound modulation module with a vertically moving drive axis and a so-called sound apron, which is formed by a separate rail.

12 shows the module 11 in a front view.

13 shows the module 11 in a side view.

The 11 until 13 show another example of the versatility of the present invention. A plastic or metal apron 24 in the form of a strip of material can be movably attached to the material carrier rail 10 via screws 25 and elongated holes 26, which only loosely rests on the piano strings 14 with a slight downward pedal movement and can thus produce a buzzing, Arabic sound. through the Due to the sensitivity of the control, the material carrier rail can be moved slightly further down and then press the skirt 24 onto the piano strings 14, which in turn changes the sound. A variety of sound variations can thus be produced with a pedal or a sound modulation system according to the invention.

• Gegenüber dem Stand der Technik bietet der Einsatz von Schrittmotoren oder technisch vergleichbarer Lösungen, wie Servomotoren und Linearaktuatoren einige bedeutende Vorteile in Bezug auf Flexibilität und musikalische Anwendbarkeit.

The following is with special reference to the 14 until 16 on the drive and the control of the various sound modulation modules 20:

• Compared to the state of the art, the use of stepper motors or technically comparable solutions such as servo motors and linear actuators offers some significant advantages in terms of flexibility and musical applicability.

As explained at the beginning, these are essentially a very finely resolved dosing of the motor control, relieving the player of the pressure force to initiate and hold the modulation bars on the strings, and the varied circuitry design options, in which one or more sound modulation bars can be connected to one or more controllers freely assignable, including recallable presets for the various configurations of the sound modulation bars.

Either a dedicated potentiometer—here in the form of a flat track controller 53—or one of two pedals 55 is assigned to a respective sound modulation module 51 via selectors 52 .

• Mit Bezug zum Ausführungsbeispiel von 14 wird eine Konfiguration der Schaltmatrix für diesen oben beschriebenen Kompositions- oder Improvisationsteil dargestellt. Die Klangmodulationsmodule 51, die Selektoren 52, die Schieberegler 53 und die Pedale 55 sind dabei von links nach rechts nummeriert angenommen.

The benefits of this flexibility for musical use are significant. This is based on a few examples 14 until 16 illustrated:

• With reference to the embodiment of 14 a configuration of the switching matrix for this composition or improvisation part described above is shown. The sound modulation modules 51, the selectors 52, the slide controls 53 and the pedals 55 are assumed to be numbered from left to right.

1. a. Die Klangmodulationsmodule 51 - 1 (ganz links) und 51-2 (zweites von links) sind über den Selektor 52-1 und 52-2 dem Pedal 55-1 zugeordnet. Mit Hilfe dieses Pedals kann über die Pedalstellung der gewünschte Grad an Klangmodulation für den entsprechenden Klangbereich erzeugt werden.
2. b. Das Klangmodulationsmodul 51-3 ist über den Selektor 52-3 dem Pedal 55- 2 zugeordnet. Dieses wird im vorliegenden Beispiel über die Pedalstellung ganz zurückgeregelt: Der entsprechende Klangbereich wird demnach nicht moduliert.
3. c. Das Klangmodulationsmodul 51- 4 ist über den Selektor 52-4 seinem dedizierten Flachbahnregler 53-4 zugeordnet. Dieser regelt im vorliegenden Beispiel das Klangmodulationsmodul 51-4 dergestalt, dass der maximale Druck auf die Klaviersaite ausgeübt wird und so der entsprechende Klangbereich stark moduliert wird.
4. d. Zusätzlich kann nun der genannte mittlere Klangbereich mit Modulationsmodul 51-3 unabhängig von allen anderen über das Pedal 55-2 in seiner Intensität dynamisch geregelt werden, so dass bei Bedarf die Melodie im mittleren Klangbereich auch alternierend klangmoduliert erklingen kann, während die anderen genannten Klangbereiche unverändert bleiben.
5. e. Ebenso kann der größere untere Klangbereich, der über die Modulationsmodule 51 - 1 und 51-2 moduliert wird, unabhängig von allen anderen über das Pedal 55- 1 in seiner Intensität dynamisch geregelt werden, so dass bei Bedarf die Bassfigur auch stärker oder schwächer klangmoduliert erklingen kann, während die anderen genannten Klangbereiche unverändert bleiben.
6. f. All diese dynamischen Veränderungen werden mit den Füßen herbeigeführt, die Tastatur kann weiterhin mit beiden Händen gespielt werden.
7. g. Der seinem dedizierten Flachbahnregler zugeordnete obere Klangbereich, der über das Modulationsmodul 51-4 moduliert werden kann, bleibt im vorliegenden Beispiel statisch in der gewünschten stark modulierenden Stellung und wird von den Pedalen nicht beeinflusst.

In the course of a musical composition or improvisation, it may be desirable to have a slightly modulated sound (e.g. for a certain bass figure) available in a larger lower sound range (modulation module 1+2), while in a middle sound range (modulation module 3 a non modulated sound is desired, which is used, for example, to create a melody.An upper sound range (modulation module 4) should be strongly modulated, for example to produce a strong pizzicato effect in which the above-mentioned melody ends.

1. a. The sound modulation modules 51-1 (far left) and 51-2 (second from the left) are assigned to the pedal 55-1 via the selector 52-1 and 52-2. With the help of this pedal, the desired degree of sound modulation for the corresponding sound range can be generated via the pedal position.
2. b. The sound modulation module 51-3 is assigned to the pedal 55-2 via the selector 52-3. In the present example, this is completely reduced via the pedal position: The corresponding sound range is therefore not modulated.
3. c. The sound modulation module 51-4 is assigned to its dedicated flat track controller 53-4 via the selector 52-4. In the present example, this regulates the sound modulation module 51-4 in such a way that the maximum pressure is exerted on the piano string and the corresponding sound range is thus strongly modulated.
4. i.e. In addition, the middle sound range mentioned can now be dynamically controlled in intensity with modulation module 51-3 independently of all others via pedal 55-2, so that if necessary the melody in the middle sound range can also sound alternately sound-modulated, while the other sound ranges mentioned remain unchanged remain.
5. e. Likewise, the larger lower sound range, which is modulated via the modulation modules 51-1 and 51-2, can be dynamically controlled in its intensity independently of all others via the pedal 55-1, so that the bass figure can also sound more or less sound-modulated if necessary while the other sound ranges mentioned remain unchanged.
6. f. All these dynamic changes are made with the feet, the keyboard can still be played with both hands.
7. G. The upper sound range assigned to its dedicated flat-track controller, which can be modulated via the modulation module 51-4, remains static in the desired strong modulating position in the present example and is not influenced by the pedals.

In a further, subsequent part of the composition or improvisation, however, it may be desirable to be able to control a deep, lower sound range (modulation module 1) in its modulation depth, while a higher, lower sound range (modulation module 2) with a fixed value is modulated. For example, a bass note that is played in the deep, lower sound range can be provided with a musical accent depending on the modulation depth, while the remaining part of the bass figure, which is in the higher, lower sound range (modulation module 2), retains a fixed sound value.

A middle sound range (modulation module 3) and an upper sound range (modulation module 4) should be able to be controlled together in their modulation depth according to the composition or improvisation, in order to be able to vary the sound character of a melody played in these sound ranges, for example, and thus increase the degree of musical expression increase.

1. a. Das Klangmodulationsmodul 51-1 ist über den Selektor 52-1 dem Pedal 1 zugeordnet. Mit Hilfe dieses Pedals kann über die Pedalstellung der gewünschte Grad an Klangmodulation für den entsprechenden Klangbereich erzeugt und somit der musikalische Akzent gesteuert werden.
2. b. Das Klangmodulationsmodul 51-2 ist über den Selektor 52-2 seinem dedizierten Flachbahnregler zugeordnet. Dieser regelt im vorliegenden Beispiel das Klangmodulationsmodul 51-2 dergestalt, dass der maximale Druck auf die Klaviersaite ausgeübt wird und so der entsprechende Klangbereich mit einem festen Wert stark moduliert wird.
3. c. Die Klangmodulationsmodule 51-3 und 51-4 sind über den Selektor 52-3 bzw. 52-4 dem Pedal 2 zugeordnet. Mit Hilfe dieses Pedals kann über die Pedalstellung der gewünschte Grad an Klangmodulation für den entsprechenden Klangbereich erzeugt werden.
4. d. All diese dynamischen Veränderungen werden, wie beschrieben, mit den Füßen herbeigeführt, die Tastatur kann weiterhin mit beiden Händen gespielt werden.

The configuration for this composition or improvisation part is in 15 shown:

1. a. The sound modulation module 51-1 is assigned to the pedal 1 via the selector 52-1. With the help of this pedal, the desired degree of sound modulation for the corresponding sound range can be generated via the pedal position and thus the musical accent can be controlled.
2. b. The sound modulation module 51-2 is assigned to its dedicated flat track controller via the selector 52-2. In the present example, this regulates the sound modulation module 51-2 in such a way that the maximum pressure is exerted on the piano string and the corresponding sound range is thus strongly modulated with a fixed value.
3. c. The sound modulation modules 51-3 and 51-4 are assigned to the pedal 2 via the selector 52-3 or 52-4. With the help of this pedal, the desired degree of sound modulation for the corresponding sound range can be generated via the pedal position.
4. i.e. As described, all of these dynamic changes are accomplished with the feet, the keyboard can still be played with both hands.

These examples outline the possibilities of freely combining sound modulation modules and control elements. In different parts of a composition or improvisation, any configuration can be used and these (composition or improvisation parts) can be musically designed in a varied way. According to the invention, a range of musical possibilities unfolds that goes significantly beyond the state of the art.

An additional expansion of these musical design options also results according to the invention if a memory is implemented in the control unit 30, which can store the combinations described above--and of course any number of them--and make them retrievable as so-called presets. These presets can be switched through in series using a foot switch, for example, so that a wide variety of sound combinations or sound design configurations are also available without having to interrupt the game with both hands on the keyboard. Alternatively, a separate touch display or another suitable operating element can be connected to control unit 30, which makes a large number of presets optionally—that is, directly—accessible, so that the pianist is not tied to a specific sequence of presets.

In addition to what is described above, it is possible to assign one preset to the starting position and one to the end position of a pedal. In this way you can achieve crossfades between complete configurations.

The switching matrix according to serves to illustrate this configuration 16 .

There are two control panels, each with 4 sound modulation modules, i.e. a total of eight sound modulation modules.

Since the process described below requires a "mapping" of the pedal values 55-2 at the analog input of the microcontroller to the corresponding control values of the sound modulation modules 51-1 to 51-4, the selectors are in 16 designed as microcontrollers that carry out this "mapping" according to their programming. In the circuit sketch 16 there is an additional input on the selector/microcontroller, which evaluates the analog signal from Pedal 55-2.

There is also a preset control chip 61, which can store the sound settings or presets described below and make them retrievable.

1. a) Kontrollpult 54 steuert die Klangmodulationsmodule 51-1 bis 51-4, hier sind beispielsweise elastische Materialien angebracht, die einen perkussiven Klang hervorbringen. Im vorliegenden Beispiel modulieren die Klangmodulationsmodule 51-1 und 51-2 den ihnen zugewiesenen Klangbereich mit mittlerer Stärke, Klangmodulationsmodul 51-3 moduliert nicht und Klangmodulationsmodule 51-4 moduliert mit hoher Stärke.
2. b) Kontrollpult 59 steuert die Klangmodulationsmodule 56-5 bis 56-8, hier sind beispielsweise metallische Materialien angebracht, die einen orientalisch anmutenden Klang hervorbringen. Im vorliegenden Beispiel moduliert das Klangmodulationsmodul 56-5 den ihm zugewiesenen Klangbereich nicht, Klangmodulationsmodul 56-6 moduliert mit hoher Stärke und die Klangmodulationsmodule 56-7 und 56-8 modulieren den ihnen zugewiesenen Klangbereich mit mittlerer Stärke.
3. c) Die in den obigen Abschnitten a) und b) beschriebenen Schaltkonfigurationen stellen also jeweils unterschiedliche Klangszenarien dar, die durch unterschiedliche Klangmodulationsmaterialien und unterschiedliche Voreinstellungen, hier als Presets bezeichnet, gestaltet werden.
4. d) Über den Selektor 60 wird das Pedal 55-2 von der in den vorangegangenen Beispielen beschriebenen direkten Kontrolle der Klangmodulationsmodule auf die Kontrolle der Presets umgeschaltet.
5. e) Der Regelbereich des Pedales 55-2 wird für das folgende Szenario mit Steuerwerten von 0-1023 angenommen, einer üblichen Auflösung des Analogeingangs von Microcontrollern wie beispielsweise dem Arduino. Die Pedalstellung bei Steuerwert 0 bedeutet dabei „nicht getreten“, die Pedalstellung zum Steuerwert 1023 entspricht dem „voll getretenen“ Pedal.
6. f) Die Klangeinstellung a) kann nun in dem Presetkontrollchip 60 oder auf einem anderen geeigneten Speicherplatz in einem der beiden Kontrollpulte abgespeichert und über diesen beispielsweise der Pedalstellung 0 des Pedales 55-2 zugewiesen werden.
7. g) Um eine fließende Überblendung zu ermöglichen, werden nun dem verbleibenden Regelbereich des Pedales 55-2 von 1-1023 die Fahrwege der Klangmodulationsmodule 51-1 bis 51-4 und der entsprechenden Flachbahnregler so zugeordnet, dass die Module von ihrem Wert bei Abrufen des Presets a), welches durch Pedalstellung 0 ausgelöst wird, bis zu ihrer Nullstellung, welche „Keine Modulation“ bedeutet, stufenlos zurückgefahren werden.

In addition, the circuit sketch contains 16 a further selector 60, which either feeds the analog signal from pedal 55-2 directly to the microcontrollers of the sound modulation modules 51-1 to 51-4 and 56-5 to 56-8, as in the examples above, or the analog signal from pedal 55 -2 to the preset control chip 61 feeds. In detail:

1. a) Control panel 54 controls the sound modulation modules 51-1 to 51-4, elastic materials are attached here, for example, which produce a percussive sound. Im present In the example, sound modulation modules 51-1 and 51-2 modulate their assigned sound range with medium intensity, sound modulation module 51-3 does not modulate and sound modulation module 51-4 modulates with high intensity.
2. b) Control desk 59 controls the sound modulation modules 56-5 to 56-8, metallic materials are attached here, for example, which produce an oriental sound. In the present example, the sound modulation module 56-5 does not modulate the sound range assigned to it, sound modulation module 56-6 modulates with a high intensity and the sound modulation modules 56-7 and 56-8 modulate the sound range assigned to them with a medium intensity.
3. c) The switching configurations described in sections a) and b) above each represent different sound scenarios that are designed using different sound modulation materials and different default settings, referred to here as presets.
4. d) The pedal 55-2 is switched over via the selector 60 from the direct control of the sound modulation modules described in the previous examples to the control of the presets.
5. e) The control range of the pedal 55-2 is assumed for the following scenario with control values of 0-1023, a common resolution of the analog input of microcontrollers such as the Arduino. The pedal position at control value 0 means "not depressed", the pedal position at control value 1023 corresponds to the "fully depressed" pedal.
6. f) The sound setting a) can now be stored in the preset control chip 60 or in another suitable memory location in one of the two control panels and assigned to the pedal position 0 of the pedal 55-2 via this, for example.
7. g) In order to enable a smooth crossfade, the travel paths of the sound modulation modules 51-1 to 51-4 and the corresponding flat-path controllers are now assigned to the remaining control range of the pedal 55-2 from 1-1023 in such a way that the modules change from their value when calling up the Presets a), which are triggered by pedal position 0, can be continuously reduced to their zero position, which means "no modulation".

• h) Das oben beschriebene Verfahren für dir linke Seite von 16 und die Klangmodulationsmodule 51-1 bis 51-4 wird nun umgekehrt proportional zur Pedalstellung des Pedales 55-2 für das Klangszenario b) auf der rechten Seite von 16 angewendet.
• i) Klangeinstellung b), welche der rechten Seite von 16 und den Klangmodulationsmodulen 56-5 bis 56-8 entspricht, wird dementsprechend durch die Pedalstellung 1023 abgerufen bzw. eingestellt.
• j) Dem verbleibenden Regelbereich des Pedales 55-2 von 1022-1 werden die Fahrwege der Klangmodulationsmodule 56-5 bis 56-8 und der entsprechenden Flachbahnregler 58-5 bis 58-8 so zugeordnet, dass die Module von ihrem Wert bei Abrufen des Presets b), welches durch Pedalstellung 1023 ausgelöst wird, bis zu ihrer Nullstellung, welche „Keine Modulation“ bedeutet, stufenlos zurückgefahren werden.

When the pedal 55-2 is in the 0 position, the in 16 the sound scenario shown on the left a) retrieved or set for the sound modulation modules 51-1 to 51-4. If the pedal 55-2 now moves in the direction of the pedal position 1023, the sound modulation modules 51-1 to 51-4 and their associated flat track controllers 53-1 to 53-4 are moved in a stepless manner in the direction of zero, no modulation. When the pedal is in position 1023, all sound modulation modules 51-1 to 51-4 are at a maximum distance from the piano strings and no modulation takes place.

• h) The above procedure for the left side of 16 and the sound modulation modules 51-1 to 51-4 is now inversely proportional to the pedal position of the pedal 55-2 for the sound scenario b) on the right side of 16 applied.
• i) sound setting b) which the right side of 16 and corresponds to the sound modulation modules 56-5 to 56-8 is retrieved or set by the pedal position 1023 accordingly.
• j) The travel paths of the sound modulation modules 56-5 to 56-8 and the corresponding flat-path controllers 58-5 to 58-8 are assigned to the remaining control range of the pedal 55-2 from 1022-1 in such a way that the modules change their value when the preset is called up b), which is triggered by pedal position 1023, can be continuously retracted to its zero position, which means "no modulation".

• k) Da diese beiden Prozesse bei der Bewegung des Pedals 55-2 gleichzeitig ablaufen, kann zwischen den beiden Klangeinstellungen a), linke Seite, und b) rechte Seite, mit dem Pedal 55-2 quasi stufenlos (d.h. in 1024 Stufen) überblendet werden.
• l) Auch hierbei ist, wie oben beschrieben, durch die Haltemomente der Schrittmotoren ein „Einfrieren“ der Zwischen- und Endstellungen jederzeit möglich.

When pedal 55-2 is in position 1023, the in 16 sound scenario b) shown on the right retrieved or set for the sound modulation modules 56-5 to 56-8. If the pedal 55-2 now moves in the direction of the pedal position 0, the sound modulation modules 56-5 to 56-8 and their associated flat track controllers 58-5 to 58-8 are moved in a stepless manner in the direction of zero, no modulation. With pedal position 0, all sound modulation modules 56-5 to 56-8 are at a maximum distance from the piano strings and no modulation takes place.

• k) Since these two processes take place simultaneously when the pedal 55-2 is moved, the pedal 55-2 can be used to crossfade between the two sound settings a), left side, and b) right side, more or less steplessly (ie in 1024 steps). .
• l) Here too, as described above, the holding torques of the stepping motors can cause the intermediate and end positions to “freeze” at any time.

The connection of additional controllers to the control panel is not shown in the drawings, but is technically easily possible. For example, a so-called breath controller or breath controller can also be connected the. Any combination of sound modulation modules can then be controlled via this (as with the pedal) by breath pressure - as with a wind instrument.

As from the embodiment of 16 As can be seen, the number of sound modulation modules used in the overall system and their dedicated selectors or microcontrollers and flat track controllers is not limited to four, but this number can be expanded almost at will. Five modules in particular can be used as a set for a control device for many types of grand piano.

Although the present invention has been described above on the basis of preferred exemplary embodiments, it is not limited thereto but can be modified in many different ways.

Finally, the features of the subclaims can essentially be freely combined with one another and not through the order presented in the claims, provided they are independent of one another.

Reference List

(1)

system carrier rail

(2)

system carrier slide

(3)

damping element

(4)

stepper motor

(5)

lead screw

(6)

guide rail

(7)

guide carriage

(8th)

guide block

(9)

hinge

(10)

Material carrier rail, sound modulation bar

(11)

sound-changing material

(12)

extension rail

(13)

connection tab

(14)

piano strings

(15)

sprue wings

(16)

frame rail

(17)

Long connection strap

(18)

velcro tape

(19)

carriage guide tab

(20),

51, 56 sound modulation module

(21)

control panel

(22)

pedals

(23)

connection cable

(30)

control panel

(31)

power supply connector

(32)

pedal jacks

(33)

Auxiliary input button or control signal

(34)

Auxiliary output control signal

(35)

module sockets

(36)

motor fader

(37)

Shift button control signal

(38)

touch display

(41)

frame angle

(42)

system carrier angle

(43)

transmission

(44)

spur gear

(45)

rack

(46)

connection bracket

51, 56

Sound modulation module with associated microcontroller

52

selectors

53, 58

flat web controller

54, 59

control panel

55

pedal

60

Selector for preset control or direct control for pedal 55-2

61

Preset control chip/memory

QUOTES INCLUDED IN DESCRIPTION

This list of documents cited by the applicant was 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.

Patent Literature Cited

• US20170132992A1[0002]
• WO 2019083462 A1 [0003]

Claims (11)

Sound modulation system for a stringed instrument such as a piano or grand piano, whereby the system comprises at least one sound modulation bar (10) which when assembled extends longitudinally across one or more strings (14) and carries along at least a portion of its longitudinal extent a material which upon contact with the strings (14) of the upright or grand piano modulates the natural sound of the strings, wherein the sound modulation bar (10) is mechanically coupled or connected to a drive system and can be pressed onto the strings by the drive system, characterized in that a) the drive system contains an electric motor (4) drive that can be positioned step by step or infinitely variable, b) and the positioning of the drive can be controlled via a microcontroller. sound modulation system claim 1 , wherein it has several sound modulation bars (10), which can be positioned via a microcontroller, preferably. sound modulation system claim 1 or 2 , A storing element being provided in order to make predetermined positions of the plurality of sound modulation bars (10) storable as presets and spontaneously retrievable during play. Sound modulation system according to any of the foregoing claims 2 or 3 , further containing a control device (21, 30) which has a plurality of operating elements (36, 37, 38, 53, 58) in order to control individually selectable positions of the plurality of sound modulation bars (10). Sound modulation system according to the preceding claim, containing a plurality of control devices (21, 30), each having a plurality of operating elements (36, 37, 38, 53, 58) in order to control individually selectable positions of the plurality of sound modulation bars (10) assigned to them . Sound modulation system according to any of the foregoing claims 3 until 5 , wherein a control element (36, 37, 38, 53, 58) and a control circuit responsive thereto is provided in order to select from a preset which has a first number of sound modulation bars (51-1, 51-2, 51-3, 51-4 ) controls to be able to continuously fade to another preset that controls a second set of sound modulation bars (56-5, 56-6, 56-7, 56-8). Sound modulation system according to one of the preceding claims, in which the drive system and a guide arrangement (6, 7, 8, 9) associated therewith are arranged essentially in the center of the longitudinal extent of the sound modulation strip (10). Sound modulation system according to one of the preceding claims, in which it contains an electronic control system which controls the electromotive drive of the at least one sound modulation strip (10). A sound modulation system as claimed in the preceding claim, wherein there is at least one slider (36, 53, 58) or knob or pedal (55) for continuously bringing one or more sound modulation modules (10) into contact with the corresponding area(s). having the strings (14). Sound modulation system according to one of the preceding claims, wherein frame rails (16) are provided which can be fastened to the cast frame (15) of the grand or upright piano and have a fastening device for one or more system carrier rails (1), which in turn accommodate a fastening of the drive system or Material carrier rail (10) included. Stringed instrument with a frame for holding a large number of strings clamped, in particular a grand piano or an upright piano, containing a sound modulation system according to one of the preceding claims.

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