DE2008553A1 - Musical instrument - Google Patents

Description

The invention relates to a musical instrument for producing a guitar-like sound.

Musical instruments for generating a guitar-like sound are known. These are string instruments that have a sound box and a neck equipped with a fingerboard over which strings are stretched. The instruments are played by pressing down the strings on the fingerboard with the fingertip and thus shortening them. at Striking the strings with your hand or a piectrum creates the sound. The strings can be played individually and in a chord • be beaten. Such instruments are for example Guitar, ukulele, balalaika, banjo, lute, etc.

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Depressing the strings with the fingers of the grip hand requires great practice and dexterity on the part of the player. To: A concert-ready ability to play is generally required for years of practice.

But it is also known that many musicians at least understand the basic concepts of playing the piano or the operation of others Know keyboard instruments. However, these skills are not limited to the fingering technique of the guitar or other instruments transferable. This is a deficiency insofar as it is often required of musicians to have several instruments in small ensembles to play alternately with different sound characteristics. In dance bands it is common to use the entire instrumentation e.g. from piano with percussion bass for dances such as tango, blues, etc., to lead guitar and bass guitar for beat music.

It is therefore felt to be disadvantageous that a guitar-like sound is not produced by an instrument that works with key operation.

For the invention, therefore, the task is to create a musical instrument with a guitar-like sound that with Keystroke works and, similar to the piano, enables easy changing from key to key.

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This problem is solved by a musical instrument that has a Combination of clavichord and electronic amplifier.

j The clavichord is a very old musical instrument dating from around the 12th century. It works by having a flattened pin at the end of each key, the tangent, at the ·.; The stop makes the string vibrate and shortens it to the length necessary for the desired tone. The part of the string that is not required is muted. Without an amplifier, the clavichord sounds very weak and delicate. Volume gradations and vibrations can be generated by varying the keystroke and holding the keys vibrating. For "domestic music purposes, the clavichord is still built in single copies. ·

To produce a guitar-like sound, this A

Equipped with a musical instrument with an electronic amplifier. Although it is known to provide all types of instruments with electronic amplifiers, this generally only works to amplify the sound of the instrument, e.g. on the harpsichord or the guitar. It was not for the professional predictable that the fine, chirping sound of the unamplified Instrument has a guitar-like sound when amplified results.

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BATH

-H-

Preferred wheat is used for picking up the sound frequencies in a contactless manner above the strings, angled, actually 1 rkv. Under the sound pick-up. The effect ö.es tone ^ ufnehrcers; is based on the change in the susceptibility of the air space surrounding the Tonaufnchn.er by the vibrations of the Sa-'te. "" * These changes are electronically amplified and unoccupied in acoustic vibrations. So that the susceptibility sh '..: v: n! .Ur ..: f ^{> r} i are strong, the strings must be made of metal with high susceptibility. For this purpose, gene or nickel alloys are used in: allgeireinon 1 -i.

It is also possible to set the strings to oscillate continuously by feeding back the generated frequency via the sound pick-up, ie by making the sound pick-up itself periodically magnetic. This effect is known per se, zi ^; .. with guitars, but leads leg; Clavichord has the advantage that] " ¹ the rapidly decaying vibrations can be transformed into continuous vibrations.

To further improve the sound and change the sound properties that can be controlled by the player, it is proposed to make the balance beam, which serves as a support for the key, movable up and down and fixable. This can be done, for example, with the help of racks or other technical possibilities. What is achieved in this way is that the key travel on the print side and the tangent travel on the stop oi is increased. Paa has the consequence that

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BATH ORIGINAL

20085S3

the tension of the struck string can be varied within wide limits by the player. One can do with the original Instruments change the string tension by about a quarter-tone fluctuation. With a variable balance beam can increase this to a whole tone fluctuation. This means that the "Melisma" effect that can be performed on guitars can also be avoided achieve a tone. Such effects are common in pop, Beat and soul music desired. So far, they could only be used by experienced guitar players or with very elaborate electronic f Studio instruments can be achieved.

It is also possible to place the support plate under the tangent to make it possible to move up and down, especially when the pedal is pressed. The height of lift is preferably dimensioned so that the tangent rests on the underside of the string with slight pressure persists. When the note is struck and the key is released, the string starts to vibrate and generates a sound somewhat less muffled, slightly reduced in its sound characteristics changed tone, which also has a longer period of oscillation than without resting. The string is through at the same time dampers touching down from above, which are lifted off again shortly thereafter, are immobilized.

As a further possibility of changing timbre and pitch it is proposed to use a transpose bar, i.e. a bar with a comparatively small contact surface on the strings. This "transposes" the key currently being played, i.e. with the same key sequence, e.g. a C major

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Chord to an F major chord. ^T .. * eitorhin is dabr- ^ -He ScI '. · .'- achieve "η-runsSrichtunf in a plane on by oil s. Γ-by'd I ^ 3' s verifiable changes in Klanrcharakteristik, C '^ about irr flap / clett tones correspond to stringed instruments.

Finally, the player can pistern similar to Orf.elri. optionally set different clan characteristics, if

“There are electromagnetic pickups on both sides of the transposition bar, they are there. _; generated cirr. "'. I ar. transmit an. amplifier.

The transposition bar can be rotatably arranged at one end on a curve which is perpendicular to the string length. In this way, the player can adjust the transposition bar by "rehunj over a - / orzusel-eride" ^{: the} carrying mechanism and thus a glissando effect similar to that of the guitar among other things. By optionally switching on the two possible Toria receivers, additional colorations can be produced.

Further properties, advantages and musical characteristics of the instrument can be found in the description based on the drawing. The figures in the drawing show: Fig. 1 is a perspective view of part of the invention Musical instrument,

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SAD ORIGINAL

2008S S3

Fir · .. 2 ^; a similar view i & it additional items. . ,

Fig. 1 shows a part of a clavichord in which only one touch key and two strings 9a and 3L- are shown. The instrument verfüft ütev a key sequence of several octaves, but more keys and strings are omitted for clarity.

The instrument, commonly referred to as roit 1, has a. Base plate 2 j a rear wall 3 and side walls 4. The right side wall from the player is designed as a resonance body 6 to amplify the intensity of the sound. The strings extend from the rear wall 3 across the space 5 left open by the rear and side walls to the resonance body 6 formed by the right-hand side wall and form the string position 9. The resonance body 6 is provided with a cover 7 the top of which is tuning pegs 8, a common (J

Bridge Io for everyone. Strings and deflection pins 11 are located around the Tuning pegs 8 are twisted like a helical spring, the string ends. The pegs can be turned with a tuning key so that that the strings get a stronger or weaker tension. The strings are placed under tension on the bridge Io, see above that the bridge transmit the vibrations to the resonance body can. These parts are also used by the well-known instru-

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2 U O 8 b 5

jT.enten used.

In addition, the string position 9 is an electromagnetic one Pickup 12 'placed without contact. The pickup 12 is made in the v / esentli from an elongated soft iron rod with copper wire turns. Own the turns of wire Connections and a connecting line 13 to an amplifier arrangement in a known design, which is referred to as ir.it 14 is. The amplified current that can be amplified by the amplifier is converted into acoustic vibrations in a loudspeaker 16 .

The free space 5 formed by the rear and side walls contains the mechanical parts for generating the tones. A button 18 is mounted on a balance beam 17 with the aid of a simple elastic pin mounting. The key has a finger pad at one end 19 and a touch pin 2o at its other end, which is guided laterally in a slot 22. On the top of the key 13, on the guide pin ο a little separated from the end of the key, a flattened stop pin 23, a so-called tangent, is inserted Auflagoleisto 24, which is covered with damping material 26, for example express; -. Pas-absorbing material 26 is to prevent, urttckfallen dn ^p> leg ¹ "

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BATH ORIGINAL

■ -. . 2ÜQ8553

the button makes a sound. When depressing the button 18 by pressing on the finger field 19 is raised Key on the tangent side and the tangent strikes the string with its flattened end. If you hold the Tangent pressed against the string, then through 'the stop vibrates the longer end of the string. These however, subsided after a short time; the sound produced can be described as weak and chirping. If you let them If you release the key again, the remaining end of the "(| String vibrating. To shorten the swing process, in the original version of the instrument a narrower one Felt strips 2 8 pulled through the strings in a wave-like manner.

This felt strip dampens the rebound of the string

Release key 18 strongly. ■

The special musical possibilities of the instrument; are that the string is placed in a vibratory voltage vibrating by holding the button, wherein g varies the pitch depending on the pressure changes by the player easily. In order to increase this effect, the balance beam 17 is inserted in a guide 29 so that it can be adjusted upwards by approximately 10 mm and can be fixed. The balance beam is raised by two toothed racks 3o attached to it and by toothed wheels 33 located on an axle, which are driven with a crank 31 via a deflection gear. The raised balance beam can be adjusted by a simple,

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2 LJ ü 8 b b 3

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releasable latch lock can be set. For the person skilled in the art, there are of course further technical implementation options this lifting mechanism is conceivable.

The support bar 24 · is also up and in a guide movable. This movement is triggered by a lifting system, generally designated 36, by pressing the pedal. It lifts the support ledge 2 * f so far that the tangent is easy strikes against the underside of the string. At the same time, the same pedal movement causes a damping strip 35 from above lowered to the string position 9, but then lifts off again to only hear the noise when all tangents hit the Suppress string. If the button 18 is pressed in the cited pedal position with the support bar raised, then the device is activated when the key is released, the string starts to vibrate. The decay time of the tone oscillation after releasing the key is essential larger than when the tangents are not on the string. In addition, a change in timbre is caused.

In Fig. 2 further technical changes to the original shape of the instrument are shown. On the sound box 6 a transposition bar 3 8 is mounted so as to be rotatably mounted about a shaft 37. The transposition bar has an approximately wedge-shaped Shape and extends across the string position 9. By

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QRlGlNAL INSPECTED

Corresponding mechanical devices can be lowered onto the string position of the transposition bar 38 with the V7elle 37 and be turned so that it strokes the strings. The transpose bar is made of metal and has a hard rubber lip where it meets the strings. By the player can change the position and lowering of the transpose bar being controlled.

The transpose bar 38 can be used to change from one key to another. You can also rotate the bar the pitch of the string can be changed continuously. Usually it will be on the side of the string facing the transpose bar

seen opposite the tangent, only a strongly damped oscillation of the string is generated, since the up and down oscillation of the string is prevented by the beam. Only the oscillations superimposed on the normal oscillation in the direction of the longitudinal extension of the beam remain. This ä se weak vibrations can be taken up by pickups and result in a bell-like tone which can be used in addition to a coloring of the entire sound image.

To absorb these vibrations, to the right and left of the Bars arranged pickups to and ul, their signals optionally can be recorded and played back. The pickups can be in known variable suspension devices attached over the relevant area of the string position 9

■ vjer den. ·

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These and other changes in the mechanical structure of the clavichord can also be used for the unamplified musical instrument. However, the origin instrument gives j as already stated, only a weak ^f, fast fading clan; _j3 which can essentially only be heard by the player himself or directly by neighboring listeners.

P Further changes in the sound and the i'ius-kalicchen Li £; enschafteri. of the "musical instrument are by means of additional" t ^ c and Changes in the clc}; tronic strangler rrc.rlich.

Patcntansrrücl ^ c

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BATH ORIGINAL

Claims (11)

Claims; . ' (Jy. Musical instrument for producing a guitar-like sound, characterized by a combination of clavichord (1) and electronic amplifier with connected loudspeaker (16). 2. Musical instrument according to claim 1, characterized by the use of known, contactless, electromagnetic, transversely over the string position (9) to be attached pickup (12, 4o, 41) and strings with high susceptibility. 3. Musical instrument according to claim 2, characterized in that the strings (9) can be set in sustained oscillation by feedback of the natural frequency via pickups (12, 4-o, 41). 4. Musical instrument according to claim 1, characterized by a lockable balance beam (17) which can be moved up and down in a guide. 5. Musical instrument according to claim 1, characterized by an up and down movable, lockable support bar (24). - 14 -10 9837/0760 "AD ORIGINAL ■ 2uO8bh3 6. Musical instrument according to claim 5, characterized in that the support bar can be moved with a pedal. 7. Musical instrument according to claim 5, characterized in that the support bar (24) can remain in a position in which the tangents (23) the strings easily touch from below. 8. Musical instrument according to claim 7, characterized in that an additional damping strip (35) simultaneously with the movement of the support strip (24) from above onto the
Strings pushes and lifts off again after the tangent (23) has hit. 9. Musical instrument according to claim 1, characterized by a transposition bar (38) which can be lowered to at least part of the string position (9). 10. Musical instrument according to claim 9, characterized by a transposition bar (38) which is movable about a shaft (37) which is perpendicular to the string position (9). 11. Musical instrument according to claim 2 and 9, characterized in that the pickup (4o, 41) on both sides
of the transposition bar (38) are arranged over the strings. 10 9837/0760