DE202013000572U1 - Device for sound picking of zithers by means of microphones, which are positioned under the instrument - Google Patents

Abstract

Device for sound picking 1 of zithers 2 mounted under the instrument. The sound is picked up via at least one microphone (spherical characteristic) 3, which is fixed on or in a support plate, is directed to the microphone input to the vibrating zither 4 and the sound on Zitherboden in an individually designed, Jodoch fixed distance decreases and further signal processing by means of standard plugs ,

Description

1. Short description

Device for sound pickup and signal processing for acoustic stringed instruments, in particular zither.

Advantageous operation and handling

2. How a zither works (Wikipedia)

A stringed instrument, the term chordophone (lat .: corda string), is a musical instrument that uses one or more strings tensioned between two points to produce sound, which in the vast majority of cases transmit their vibrations to a sound-amplifying sound box.

Different pitches are achieved either by dividing the strings or by having (for at least) a separate string for each tone. In any case, the thinner, the shorter and tighter each string is, the higher the resulting tone will be.

Zithers are instruments where there is no direct contact between the vibrating strings and the soundboard. The transmission takes place via the massive side parts (blocks) to which the strings are attached and to which the resonance ceiling is directly connected. The typical sound is the result of the interaction between the soundboard and the blocks, which can be considerably amplified and distributed over a resonating surface (Zithertisch).

Some zithers do not have their own resonance ceiling and therefore need such an external sound box for sound generation.

3. Analysis of known devices and methods for sound pickup

• Point 3 excerpts from patent specification DE 43 36 048 C2 Publication No. AT 000000182419E

3.1.

Very widely used for the sound pickup o. G. Instruments are electromagnetic pickups that reproduce the alternating field excited by steel strings as electrical signals. They are usually fixed under the strings, or available as an accessory.

Although they are not acoustically capable of capturing natural sound as a highly specific acoustic blend of direct strings or body sounds and indirect body mass air resonances, the type of sound Ihenn produces is very popular and much desired for many applications. In terms of handling, the available as accessories versions are not quite satisfactory and the permanently installed systems are usually only by a professional to change, or even require major intervention in the instrument. So it is not surprising that changes desired by the musician often lead to the need for a new zither.

3.2.

Also very widespread in such instruments are high impedance, piezoelectric contact vibration pickups, which differ according to the method of attachment as follows. A.) Attached to the bridge / tailpiece device with individual customers for each string, where only the string direct sound is displayed, or b) on a suitable wall of the resonance corpus selectively attached customer, essentially only the present at this point conversion vibration is displayed. Unlike 3.1. they do not require steel strings, but tend to have dynamic variance compressive reproduction with relatively low frequency linearity, producing relatively large complex cleavage fractions. In terms of sound and handling technology, the corresponding explanations in 3.1 apply. however, at least in the nocturnal attachment and utility of traditional stringed instruments, a piezoelectric pickup is preferable.

Note: A number of acoustic zithers with built-in piezo pickups including specifically minted electronics or tone control are manufactured and offered.

3.3.

With airborne transducers, which, in contrast to those mentioned in 3.1 and 3.2, in principle, the other relevant sound components such. B. can absorb percussive body sound.

A very common in the recording studio, in particular, but its distribution in stage operation and personal use in comparison to 3.1. and 3.2. rather low. (Comp. Michael Dickreiter: microphone recording technique, S. Hinzelverlag, Stuttgart 1984 pp. 116-117 )

They are particularly indispensable for achieving a comparatively lifelike reproduction, but show in comparison to 3.1 and 3.2. a much greater susceptibility to acoustic feedback, and may, on a case-by-case basis, result in very different, mostly interdependent, problems and disadvantages.

3.3.1

Directional microphone positioned externally on the stand:

In stage performances of well-known artists the still most widespread procedure. With the use of very high quality directional microphones with qualified placement as well as adjustment of the sound system and monitor loudspeakers allows a relative lifelike reproduction, in particular of the strings and direct ceiling vibration proportion.

Disadvantages: Feedback-prone, complicated operation, large number of complex components, limitation of the range of motion for the musician.

3.3.2.

With microphone attached to the outside of the instrument.

With Clip or similar attach to the instrument surface microphone; relatively good sound results are possible at low volumes, but results in the combination of the given parameters (low sound attenuation, preferred use of omnidirectional microphones, compulsion to electro-acoustic compromises in attachment, etc.) not only eien clear feedback susceptibility, but inherently and strongly dependent on the mounting point also the tendency to a less lifelike reproduction. Serious handling disadvantages z. b. critical attachment, protruding teeth and "flying lines" in the control panel, risk of damaging the microphone and instrument, can hardly be bypassed. Setting and influencing possibilities on the instrument, as well as versatile standard adaptation barely possible.

3.3.3.

With microphone in resonance chamber:

For this purpose, a special usable or mountable device is needed, which, while well protected inside the body, lies outside the range to be served by the musician, but on the other hand has some very complex acousto-mechanical problems. In addition, there are various new questions regarding the nevertheless necessary operability and installation.

3.3.3.1

At the soundboard in a soft elastic molded body fixed microphone; poor decrease of the side and ceiling terrestrial radiation, body-sound-oriented feedback-prone sound absorption, u. U. problematic fixation or temporary attachment hardly conceivable when using condenser microphones, problematic power. Connection via chassis socket and associated change of the instrument required or with connection through soundhole cumbersome or not zugentlastende cable management, setting and influencing the instrument hardly possible, versatile standard adaptation (eg symmetrical output via XLR) problematic, little or no accessible space for battery power supply and further accessories.

3.3.3.2.

At the connection socket u. U. with gooseneck attached microphone, relatively good sound results without interference of the primary sound are indeed possible, but some aspects are electroacoustic or mechanical difficult satisfying solvable; in the case of most commercially available devices, there is, indirectly as a matter of principle, a greater or lesser disturbing tendency to feedback or a tendency to not lifelike reproduction.

3.3.3.3.

Although it can be used relatively quickly in any zither with a classical sound hole and standard height without mounting the instrument on a flexible body clamped between the ceiling and the floor, other major disadvantages arise for the user:
When inserting or removing the body, the strings are stretched, whereby the instrument must usually be retuned. When the body is inserted, the primary instrument sound is significantly attenuated. The ceiling and floor are also strongly dampened by the clamping action of the body. Therefore, in many zithers, the primary sound recorded by the built-in microphone may undergo a sometimes very unpleasant change due to inharmonic superimposition of secondarily excited frequency spectra. The instrument can be used without cumbersome removal of the device hardly for unreinforced use. The amplified sound, which in this case is picked up by two microphones, also tends to be less lifelike, also characterized by other principle-related reasons, as nasal or dosing characterized by users. Handling technology proved in particular through the sound hole led out loosely laid lines, if necessary compulsion to stereo amplification as the buyer unacceptable disadvantages.

4. Task

The sound-picking device should reproduce the natural sound of the zither. There should be no impairment of the instrument-typical primary sound.

Extremely easy to use without any modification to the instrument, even for z. B. to allow the temporary rehearsal service.

Use of common standard sockets.

Ability to integrate various convenient accessories (tuner or assemblies for converting sound information into digital signals for controlling electronic sound generators).

Particular importance is given to the aspect of faithful reproduction of acoustic zithers with a condenser microphone.

The device should be discreetly placed.

5. Description of the invention

The device is located below the instrument.

It consists of a support plate and at least one microphone which is mounted on the plate or incorporated in the plate. The instrument usually stands on three feet on the platen. The sound of a zither is most intense on the ground. Each instrument has differently intense sound points on the ground. Below these sound points, the microphones are mounted on or in the support plate and thus always have the same position relative to the zither. This eliminates a time-consuming positioning process for the microphone.

This sound reduction faithfully reproduces the individual sound of each instrument.

In the support plate standard connections (XLR, 6.3 mm jack) are incorporated, from where various amplifier devices, and accessories (tuner ect.) And PA systems can be controlled

The instrument can also be used without a sound pickup device.

6. Advantages

The own instrument is strengthened with its characteristic sound in a natural way.

The instrument does not have to be structurally altered.

The handling is very simple, safe (power supply) and very efficient.

In addition, the device is a very cost effective alternative to another Tonabnahmesystem.

The full range of electrical accessories (effects, tuners Equalizer ect.) Can be used.

LIST OF REFERENCE NUMBERS

1

Device for sound pickup

2

zither

3

microphone

4

swinging zither floor

5

plug

QUOTES INCLUDE IN THE DESCRIPTION

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

Cited patent literature

• DE 4336048 C2 [0005]
• AT 000000182419 E [0005]

Cited non-patent literature

• Michael Dickreiter: microphone recording technique, S. Hinzelverlag, Stuttgart 1984 p 116-117 [0011]

Claims (1)

Device for sound pickup 1 of zithers 2 attached under the instrument. The sound is picked off via at least one microphone (omnidirectional characteristic) 3 , which is fixed on or in a platen, with the microphone input on the oscillating zither floor 4 is directed and decreases the sound on Zitherboden in an individually designed, Jodoch fixed distance and further signal processing via standard connectors.

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