EP0758779A2 - Resonating body - Google Patents

Abstract

The top (3) of the resonance box (1) is in two parts, the first of which forms a seat-base (5) with room for a player. The second part forms a lid (6) with sound holes (2) onto which the string instrument is placed for increasing the sound volume. At least two sound holes are symmetrically arranged on each side of that part (4) of the lid on which the string instrument is placed. The resonance box can be dismantled compactly and consists of parts (5,6,7,7',8,9,9',10) hinged (11) together. On the front sides of the seat base and lid are bolts sliding along guides (25).

Description

The invention relates to a resonance box for amplifying the sound of a string instrument that is in a sound connection with it, in particular one that can be attached by means of a spike.

The need for such a sound amplification arose from the fact that the high-pitched sounds are perceived louder than the middle and lower ones at the same sound pressure, so they stand out and prevail more easily.

At the beginning of the 19th century, the violoncello emerged from its role of general bass and accompanist, which until then had been purely. The composer increasingly entrusted him with solistic tasks, from the first sonatas with hammer piano (Beethoven op. 5, composed in 1796) to the romantic solo concerto with large orchestra (Dvorak, composed in 1896). The solo repertoire mainly comprises works in which the cello with piano or orchestra is used.

In piano construction, the development from the more delicate-sounding chamber music instrument, the table piano, to the grand piano and the modern concert grand is known. In the case of wind instruments, whether sheet metal or wood, the choice of materials, acoustic research and modern processing methods also significantly enhanced the sound.

In contrast, the string instruments of the violin family have not changed significantly for 400 years. Only through the use of modern strings and the possible increased string tension in connection with a modification of the instrument neck did a certain tonal change take place.

The above-mentioned hearing psychological fact benefits the violin significantly. Even the viola (viola) does not have the same power. The cello and double bass are sometimes dependent on the utmost consideration from their partners.

Certainly there are a few top instruments from Stradivari, Guarneri or Montagnana, the tone of which can be described as extraordinarily large in all sound ranges. However, these rare instruments are also outstanding in terms of price, that is to say they move beyond the DM million mark. In the medium price range, cellists are not infrequently willing to invest a hundred thousand DM or more for a good instrument, that is, an instrument that not only sounds nice, but also carries it.

Due to the spike on which the cello (or double bass) is placed when playing, the vibrations of the instrument body are transferred to the surface with almost no loss. If it is constructed in such a way that it can resonate, a clearly audible and tangible resonance effect is achieved, which amplifies the sound of the cello (or double bass) precisely in the area that is less well established in the sound spectrum.

Earlier concert halls and podiums were constructed from wood and had a high degree of good resonance. Today, larger and more modern halls made of steel, stone and concrete want to be filled with sound, which have podiums that are often too solidly constructed to serve as a soundboard.

Concert organizers occasionally take this into account insofar as they have platforms available not only for conductors but also for instrumental soloists. However, these are neither built from an acoustic point of view, nor do they correspond to practical needs in terms of handling and storage and are therefore rarely found in concert halls.

The invention has for its object to make a resonance box of the type mentioned available, which causes a clearly audible and tangible resonance effect is achieved, which amplifies the sound of the string instrument in question in the area that is less well established in the sound spectrum.

The object is achieved in that the resonance box is acoustically optimized through material selection, shape and sound holes.

The invention achieves a sound improvement regardless of the floor or podium of the concert hall. The resonance box is primarily designed for cello and double bass, i.e. for musical instruments that can be placed on the floor with a spike, but it can also be used to amplify the sound of other stringed instruments, such as a harp. With regard to the cello, but also the double bass, an enormous sound amplification is achieved, whereby the above-mentioned problems are solved to the fullest satisfaction. It is essential that it is not only a simple wooden platform, as in the prior art, but a resonance box that is optimized with regard to the resonance requirements. The material used will usually be wood, but it does not always have to be. In the case of wood, a corresponding selection must be made, such as the type of wood, freedom from knots, the grain pattern, etc. Furthermore, the shape, for example the shape of two trapezoids, which lie against one another with their long sides, is decisive for the sound amplification. Of course, other shapes are also conceivable. The sound holes are essential for achieving a resonance effect that exceeds that of wooden floors or stable wooden platforms in terms of quality. This makes the resonance box more than a remedy for unsuitable floors; it rather becomes a device that opens up new possibilities for cello and double bass.

Further developments of the resonance box are described below, which increase the effect according to the invention, facilitate handling and bring many other advantages with it.

The top of the resonance box is expediently dimensioned in such a way that it offers space for the player and for putting on the stringed instrument. In this way, a relatively large resonance box with good acoustic properties can be arranged for the soloist, for example in front of the orchestra. An additional advantage is the visual highlighting of the player, which is particularly pleasant for musical instruments that are not played standing solo.

It is proposed to arrange at least two sound holes on the top symmetrically on both sides to the area of a ceiling on which the stringed instrument is placed. This arrangement serves the optimal resonance effect. In addition to the ceiling, the upper side expediently has a seat base which is dimensioned such that a player with a chair can take a seat on it. In this way, the cellist can take his seated playing position, and the player of the double bass also has enough space for the size of his instrument.

A particular advantage is achieved in that the resonance box is designed to be collapsible in small volumes. This can be done either in that the resonance box is designed to be dismantled or in that it has collapsible parts which are connected to one another by hinges. In this way it is possible that the resonance box can be easily transported and stored in a space-saving manner. So the player can bring it into the concert room like a musical instrument. This makes it more independent of the existing conditions. In addition, the resonance box protects valuable carpets and floors, otherwise the sting of the instrument must be placed on them. Many types of disassembly of the resonance box and many folding mechanisms are conceivable.

An advantageous folding mechanism is designed in such a way that the upper side between the seat floor and ceiling has first hinges through which the seat floor and ceiling can be folded up. Side frames are connected by second hinges to the seat floor and ceiling in such a way that they move from a parallel position to the seat floor and ceiling are pivotable to a stop in a 90 ° position. Front latches can be inserted into guides on the front of the seat floor and ceiling, so that the 90 ° position of the side frames is locked. Stops can position the inserted front latch. In this way, the resonance box can be assembled and disassembled quickly and easily. Seen from the surface, the resonance box has only half when folded, and the depth corresponds to only four board thicknesses.

It is proposed to design the guides in such a way that they can absorb tensile forces directed perpendicular to the guide direction. This results in an even higher stability of the resonance box. This can be achieved, for example, by dovetail guides or T-slots with counterparts of corresponding T-shape. Further embodiments are conceivable.

To store the front latch, it is proposed to arrange brackets on the underside of the ceiling and / or seat floor. These can consist of angles for receiving one end of the front bolts and magnetic brackets for attaching the other end.

An even better portability is achieved in that at least one carrying strap is arranged in such a way that the resonance box can be carried with it when folded up. A particularly advantageous arrangement of two risers consists in that the side frames of the ceiling have openings in their front area and the side frames of the seat bottom in their rear area, through which a carrying belt is pulled in each case. This gives the risers a multiple function, both as a carrying strap and as a holding strap. In the assembled state, the carrying straps can be tensioned by appropriate dimensioning of their length, as a result of which they exert such a tension on the side frames so that they hold the front latches in their insertion position. If the folded soundboard is taken by these two risers, forces act that maintain the folded state and the front latches in their storage position secure at the same time. In this way it is not even necessary to provide an additional strap for cohesion. Folding in the side frames results in loops through which the carrying straps can be placed over the shoulder, so that both hands remain free and the musical instrument can be transported at the same time.

Circumferential edge webs can be fitted on the outer edges to prevent them from slipping off the resonance box. These edge webs can include both the seat floor and the ceiling. This is particularly useful for the seat floor when a chair is used. One embodiment provides that the edge webs are formed by frame and front bolt parts projecting over the top in the assembled position. However, it is also possible to place the edge webs directly on the top, preferably on the seat bottom.

• Die Decke des Resonanzkastens kann eine gewölbte Oberfläche aufweisen. Dies dient der Vergrößerung der Belastungsstabilität, wodurch dünnere Hölzer verwendet werden können, was einer Gewichtsverminderung und Klangverbesserung dient. Zusätzlich wird dadurch ein schönes Design des Resonanzkastens erzielt.
• An der Unterseite der Decke kann ein Baßbalken angebracht sein, der zweckmäßigerweise, vom Spieler aus betrachtet, seitlich links der Symmetrieachse parallel zu dieser angeordnet ist.
• Die Schallöcher sollten, analog den F-Löchern beim Streichinstrument, im wesentlichen parallel zu der Symmetrieachse verlaufen.

The following measures serve to improve resonance and sound:

• The ceiling of the resonance box can have a curved surface . This serves to increase the load stability, which means that thinner woods can be used, which serves to reduce weight and improve sound. In addition, a beautiful design of the resonance box is achieved.
• A bass bar can be attached to the underside of the ceiling, which, expediently viewed by the player, is arranged parallel to the left of the axis of symmetry.
• Analogous to the F-holes in the stringed instrument, the sound holes should run essentially parallel to the axis of symmetry .

A convenient placement of the instrument can be achieved in that in the corresponding area of the ceiling depressions for the placement of the Instrument spikes are provided; several specializations in order to meet the different requirements of different instrumentalists.

An advantageous development provides that the top is inclined forward. This creates a wedge cushion effect for the player's seat, which ensures a healthy sitting posture. The weight of the instrument shifts more to the instrument spike, which relieves the player. In addition, there is a reflection of the sound through the surface to the front, which in turn serves to amplify the sound.

Fig. 1

ein erstes Ausführungsbeispiel des Resonanzkastens in perspektivischer Sicht,

Fig. 2

eine Seitenansicht,

Fig. 3

eine Vorderansicht,

Fig. 4

eine Draufsicht,

Fig. 4a

die Aufbewahrung der Frontriegel anhand eines Schnitts,

Fig. 5

ein zweites Ausführungsbeispiel in perspektivischer Teilansicht,

Fig. 6

ein Schnitt VI - VI der Fig. 5, 1. Ausführungsform

Fig. 6a

derselbe Schnitt, 2. Ausführungsform und

Fig. 7

ein Schnitt VII - VII der Fig. 5.

Exemplary embodiments of the invention are shown in the drawing. Show it

Fig. 1

a first embodiment of the resonance box in perspective view,

Fig. 2

a side view,

Fig. 3

a front view,

Fig. 4

a top view,

Fig. 4a

the storage of the front latches based on a cut,

Fig. 5

a second embodiment in perspective partial view,

Fig. 6

a section VI - VI of Fig. 5, 1st embodiment

Fig. 6a

the same cut, 2nd embodiment and

Fig. 7

a section VII - VII of FIG. 5.

Fig. 1 shows a first embodiment of the resonance box 1 in a perspective view. The top 3 consists of a seat floor 5 and a ceiling 6. The seat floor 5 is dimensioned such that a player, if possible with any chair that he finds in the concert hall, can comfortably take a seat on it. A musical instrument, for example with the instrument spike, is placed on the ceiling 6. The dash-dotted area 4 serves as the point of attachment. The box is further formed in that the ceiling 6 has side frames 7 and 7 ′ and a front front latch 8. Correspondingly, the seat base 5 has side frames 9 and 9 'and a rear front latch 10.

In order to be able to transport and store the resonance box well, it is expedient if the parts described are designed to be collapsible in a very small volume. In this embodiment, this is achieved in that the seat base 5 is connected to the ceiling 6 by first hinges 11 '. It can be a continuous hinge or a plurality of, preferably two, hinges 11 '. If the seat floor 5 and the ceiling 6 are of approximately the same shape and size, the surface can be halved if the top 5 of the seat floor 5 and the ceiling 6 are folded onto one another in accordance with the arrow 17. Of course, this also goes in the other direction. In the present embodiment, trapezoidal shapes were chosen for the seat base 5 and the ceiling 6, their long sides being connected to one another by the hinges 11 '.

Guides 25, through which the front latches 8 and 10 can be pulled out, are used for further folding, in which case the side frames 7, 7 ', 9, 9' can then be folded in by means of second hinges 11 ''. This is explained on the basis of FIGS. 2 to 4.

The shown embodiment of the resonance box 1 is symmetrical. The axis of symmetry 16 is drawn in as a dash-dotted line. The area 4 on which the stringed instrument is placed is located on this axis of symmetry 16. Below the ceiling 6, viewed from the player, is to the left of the axis of symmetry 16 a bass bar 15 (drawn with a broken line) attached. There are two sound holes 2 between the axis of symmetry 16 and the outer edges of the ceiling 6. These are elongated and run in the longitudinal direction. Their shape and arrangement are based on the F-holes found in string instruments.

When the resonance box 1 is collapsed, as described, the seat base 5 and the ceiling 6 are folded together and then, as the arrow 18 shows, the front front latch 8 is pulled out. The side frames 7 and 7 'thus released can then be folded in such a way that they run parallel to the ceiling 6. Correspondingly, the rear front latch 10 is pulled out and the side frames 9 and 9 'of the seat base 5 are folded in. In this way, the resonance box 1 can be folded to a minimum volume, making it easy to transport and store.

Figures 2 (side view), 3 (front view) and 4 (top view) show the arrangement of the hinges 11.

Of the first hinges 11 ', only the hinge joints 20 are visible from above. The fastening tabs of these hinges 11 ′ are attached below the upper side 3 by means of hinge fastenings 21. As a result, these are visible as little as possible, but are designed in such a way that the top 5 of the seat base 5 and the ceiling 6 can be folded together.

The front latch 8 is drawn in its inserted position. If it is pulled out in the direction of arrow 18, the side frames 7 and 7 'can be folded in. The position of the hinge joints 20 of the second hinge 11 ″ can be seen from FIGS. 2 and 3. From Fig. 3 it can also be seen how the outer sides of the ceiling 6 serve as stops 22, by means of which the side frames 7 and 7 'are held in their 90 ° position.

The side frames 7 and 7 'are stabilized against inadvertent folding in that the front front latch 8, after it has been inserted, holds these side frames 7 and 7'. This can be seen from Figures 1 to 4. Exemplary embodiments of the guides 25 of the front bolts 8 and 10 are explained with reference to FIGS. 6 and 6a.

This description applies in a corresponding manner to the seat base 5, its side frames 9 and 9 'and the rear front latch 10.

The side frames 7, 7 ', 9 and 9' located in their 90 ° position and the front catches 8 and 10 form the edge webs 14 and 14 '. As can be seen from FIG. 2, these edge webs 14, 14 'can also be designed such that they are raised in the area of the front front bar 8 and the rear front bar 10 and from there wedge-shaped 28 to the top 3 to the center of the resonance box 1.

Fig. 2 also shows openings 13 and 13 ', which are located at the front ends of the side frames 7 and 7' and at the rear ends of the side frames 9 and 9 '. These openings 13 and 13 'serve for the passage of risers 12, one of which is shown in Fig. 3. 3 shows how the carrying strap 12 is tensioned tight in the assembled state of the resonance box 1 and thereby exerts a tensile force on the side frames 7, 7 ', as a result of which the front latch 8 is held. If the side frame 8 is pulled out while overcoming this holding force, for which purpose a handle 24 is useful, the side frames 7, 7 'can be folded in. By folding in, the distance between the openings 13, 13 'is reduced, and the carrying strap 12 forms a loop for carrying. The same naturally also applies to the side of the seat bottom 5. Furthermore, the carrying straps 12 in the folded state provide an additional hold against unintentional opening when the resonance box 1 is worn.

Of course, other measures are also conceivable which serve to hold together in the folded state. Detachable snap connections or magnetic holders can be provided for this purpose.

4a shows a section with one of the front bolts 8 or 10 in the storage position. For this purpose, the front latches 8, 10 are inserted with one side into an angle 32, which is located at the bottom of the seat bottom 5 or on the ceiling 6 of the folded resonance box 1, and on the other side by a holder, for example a magnet holder 33 .

FIGS. 5, 6, 6a and 7 show a second embodiment, FIG. 5 being a partial perspective view, FIG. 6 a section VI-VI of FIG. 5, first embodiment, FIG. 6a the same section, second embodiment and FIG Figure 7 is a section VII - VII of Figure 5.

In contrast to the first embodiment, both the side frames 7 and 7 'and the front front bar 8 are attached under the surface of the ceiling 6. Of course, this also applies to the seat base 5 (not shown) with the side frames 9 and 9 'and the rear front latch 10.

In this exemplary embodiment, the upper edge of the front front bar 8 serves as a stop 23 in that it abuts the lower side of the ceiling 6 when the front bar 8 is inserted. As already described above, the front latch 8 also prevents the side frames 7 and 7 'from being inadvertently folded in in this exemplary embodiment.

Fig. 6 shows a first embodiment of the guide 25. This consists in that the front bolt 8 has a spring 27 which engages in a groove 26 of the side frame 7. As a result, the front latch 8 is held. With the help of the holding function of the carrying strap 12 described above, the cohesion is achieved.

An even greater stability is achieved by the second embodiment shown enlarged in FIG. 6a . A double T profile 30 is attached to the front latch 8 by means of profile fastenings 31. This is inserted into a corresponding T-groove 29 in the side frame 7.

Of course, further guides 25, for example dovetail guides, are also conceivable.

7 shows the second hinges 11 ″ for the side frames 7 and 7 ′. The stop 22 can be seen from this illustration.

In the embodiment of FIGS. 5 to 7, the edge web 14 is formed by strips which are attached to the top 3.

The preceding description also applies to the design of the seat bottom 5. The same reference numerals correspond to the parts described in the first embodiment. The other functions and training opportunities correspond to those described above.

Of course, a large number of embodiments of the resonance box 1 are also conceivable, for example it could also have the shape of two triangles or squares or be provided with another folding mechanism. The proportions are of course freely selectable. They are adapted to the respective requirements of the musical instrument, player, chair, etc.

Reference list

1

Resonance box

2nd

Sound holes

3rd

Top

4th

Area where the stringed instrument is placed

5

Seat for one player (with chair)

6

blanket

7, 7 '

Side frames of the ceiling

8th

front latch (instrument area)

9, 9 '

Side frames of the seat bottom

10th

rear front bar (player area)

11

Hinges

11 '

first hinges for ceiling and seat floor

11 ''

second hinges for side frames

12th

Risers

13, 13 '

Breakthroughs

14 '

Edge bridge (ceiling)

14

Edge web (seat floor)

15

Bass bar

16

Axis of symmetry

17th

Arrow - folding the seat / ceiling

18th

Arrow - pull out the front latch

19th

Arrow - collapse side frames

20th

Hinge joint

21

Hinge attachment

22

Stop for opening the side frames

23

Stop for inserting the front latch

24th

Handle

25th

guide

26

Groove

27

feather

28

wedge-shaped outlet of the edge webs

29

T-slot

30th

Double-T profile

31

Profile attachment

32

angle

33

Magnetic mounts

Claims (14)

Resonance box (1) for amplifying the sound of a string instrument that is in a sound connection with it, in particular one that can be attached by means of a spike,
characterized by
that the resonance box (1) is acoustically optimized through material selection, shaping and sound holes (2). Resonance box according to claim 1,
characterized by
that the top (3) of the resonance box (1) offers space for the player and for putting on the stringed instrument. Resonance box according to claim 1 or 2,
characterized by t,
that at least two sound holes (2) on the top (3) are arranged symmetrically on both sides to the area (4) of a ceiling (6) on which the stringed instrument is placed. Resonance box according to claim 2 or 3,
characterized by
that the top (3) has a seat bottom (5) which is dimensioned such that a player with a chair can take a seat on it. Resonance box according to one or more of claims 1 to 4,
characterized by
that the resonance box (1) is designed to be collapsible in small volumes. Resonance box according to claim 5,
characterized by
that the resonance box (1) has collapsible parts (5, 6, 7, 7 ', 8, 9, 9', 10) connected by hinges (11). Resonance box according to claim 6,
characterized by
that the top (3) between the seat base (5) and the ceiling (6) has first hinges (11 '), through which the seat base (5) and the ceiling (6) can be folded up, that side frames (7, 7', 9, 9 ' ) are connected by second hinges (11 '') to the seat base (5) and ceiling (6), whereby they can be pivoted from a parallel position to a stop in a 90 ° position, and that on the front sides of the seat base (5) and ceiling (6) front latch (8, 10) can be inserted into guides (25) so that the 90 ° position of the side frames (7, 7 ', 9, 9') is locked. Resonance box according to claim 7,
characterized by
that at least one shoulder strap (12) is arranged in such a way that the resonance box (1) can be worn with it when folded. Resonance box according to claim 8,
characterized by
that the side frames (7, 7 ') of the ceiling (6) in their front area and the side frames (9, 9') of the seat base (5) have openings (13, 13 ') in their rear area through which a carrying strap ( 12) is pulled through. Resonance box according to claim 9,
characterized by
that the carrying straps (12) are dimensioned with respect to their length so that in the assembled state of the resonance box (1), when the front bolts (8, 10) are in their insertion position, such a pull on the side frames (7, 7 'and 9, 9 ') that the front bolts (8, 10) are held. Resonance box according to one or more of claims 1 to 10,
characterized by
that the seat bottom (5) is surrounded on its outer edges by an edge web (14). Resonance box according to one or more of claims 1 to 11,
characterized by
that the ceiling (6) has a curved surface. Resonance box according to one or more of claims 1 to 12,
characterized by
that a bass bar (15) is arranged on the underside of the ceiling (6), viewed from the player, to the left of the axis of symmetry (16). Resonance box according to one or more of claims 1 to 13,
characterized by
that the top (3) is inclined forward.

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