EP2830038B1 - Musical instrument - Google Patents
Musical instrument Download PDFInfo
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- EP2830038B1 EP2830038B1 EP14185620.3A EP14185620A EP2830038B1 EP 2830038 B1 EP2830038 B1 EP 2830038B1 EP 14185620 A EP14185620 A EP 14185620A EP 2830038 B1 EP2830038 B1 EP 2830038B1
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- Prior art keywords
- sound
- kinetic
- disposal
- instrument
- musical instrument
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Images
Classifications
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- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10C—PIANOS, HARPSICHORDS, SPINETS OR SIMILAR STRINGED MUSICAL INSTRUMENTS WITH ONE OR MORE KEYBOARDS
- G10C9/00—Methods, tools or materials specially adapted for the manufacture or maintenance of musical instruments covered by this subclass
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- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10D—STRINGED MUSICAL INSTRUMENTS; WIND MUSICAL INSTRUMENTS; ACCORDIONS OR CONCERTINAS; PERCUSSION MUSICAL INSTRUMENTS; AEOLIAN HARPS; SINGING-FLAME MUSICAL INSTRUMENTS; MUSICAL INSTRUMENTS NOT OTHERWISE PROVIDED FOR
- G10D3/00—Details of, or accessories for, stringed musical instruments, e.g. slide-bars
- G10D3/22—Material for manufacturing stringed musical instruments; Treatment of the material
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10D—STRINGED MUSICAL INSTRUMENTS; WIND MUSICAL INSTRUMENTS; ACCORDIONS OR CONCERTINAS; PERCUSSION MUSICAL INSTRUMENTS; AEOLIAN HARPS; SINGING-FLAME MUSICAL INSTRUMENTS; MUSICAL INSTRUMENTS NOT OTHERWISE PROVIDED FOR
- G10D9/00—Details of, or accessories for, wind musical instruments
- G10D9/08—Material for manufacturing wind musical instruments; Treatment of the material
Definitions
- Passive area of a musical instrument is to be understood as meaning those components or areas of components which are not directly required for sound generation. Examples of such components are, for example, in a grand piano or upright piano the cast plate on which the strings are stretched, in a violin the neck, in a timpani the body on which the membrane is drawn, etc.
- the "active area" of a musical instrument in the context of this invention is to be understood as meaning those components or areas of components that are directly required for sound generation, such as the Strings of a piano or a violin, the reed of a clarinet, etc.
- a primary sound event is one that is caused by the oscillations or vibrations of the components of the active area or the active area of a component is triggered, in other words the sound event actually intended in the foreground for the sound of the musical instrument.
- the secondary sound event is understood here to be the sound event generated by oscillations or vibrations in the components of the passive area of the musical instrument, which co-determines the overall sound by superimposing the primary sound event.
- the soundboard 13 is sound-conducting with the rest of the body (wing frame 6 and wall 7), and in this way connected to all components of the instrument. This means that all parts of the instrument are stimulated to resonate by the primary sound event, ie by the vibrations of the active area consisting of strings, bridge 14 and soundboard 13.
- the energy storage effects of the individual components are considered to be unavoidable.
- the following phenomenon is understood by the energy storage effect:
- the sound energy spreads as a temporal process throughout the instrument. Since the components are "at rest” up to this point, each component is soaked up with the sound energy flowing into it before the excess energy is emitted into sound-conducting components and the surrounding air.
- the active components eg strings, bridge 14 and soundboard 13 in a piano / grand piano
- this effect is desired and necessary.
- the passive components which are irrelevant for the primary sound event, the sound energy that has entered them, the proportion of which varies from component to component, leads to phase shifts and thus to interference with the primary sound event.
- the essential aspect of the invention lies in the knowledge that it is possible to derive sound energy from a musical instrument with the aid of an effect referred to here as "kinetic disposal".
- the dissipation into the surrounding space is done by transforming the energy to a level that is no longer audible sound energy.
- the kinetic disposal can take place on a component that is allocated to the passive area of the musical instrument overall, in order to avoid energy storage effects occurring in this component and their negative repercussions on the current or possibly subsequent primary sound event.
- the kinetic disposal is achieved by arranging a crystalline body made of a material with a high speed of sound in the solid body (speed of sound more than 8,000 m / s) on the components of the passive area of the instrument that are not required for the generation of the primary sound event in order to prevent their sound emission to the environment, to eliminate it as far as possible and to reduce or avoid its reverberation.
- the decisive factor for the effect of the crystalline body used according to the invention is that there must be a potential of the speed of sound between it and the material of the component to be disposed of kinetically.
- the material used for kinetic disposal must always have a higher speed of sound than the material to be disposed of. The greater the potential, the clearer the effect (see Table 1).
- the degree of kinetic disposal results from the ratio of the speed of sound of the two materials.
- the result is a transmission factor of approx. 4: 1 (18,000 m / s: 4,500 m / s).
- the materials that are used kinetically to be disposed of are wood, gray cast iron, brass and the like, all of which have sound speeds between approx. 3,000 and 5,000 m / s. This means that there is sufficient potential for materials with a sound speed of at least 8,000 m / s so that they can have a kinetically disposable effect.
- the kinetic disposal makes it possible in a clear way to divert the body and air-borne sound energy that has entered the passive area of the instrument almost instantaneously and as inaudible energy into an area outside the entire instrument, so that only the active area can be seen as the acoustic and element of the instrument that determines the sound.
- the result is a more genuine, clearer and more dynamic primary sound event, free from those interferences and distortions that inevitably exist in any musical instrument that is not kinetically disposed of.
- the kinetic disposal can also have a direct effect on the active area.
- the reed of a clarinet for example, consists of an active (i.e. freely vibrating) section and a passive (i.e. fixed) section.
- the kinetic disposal by placing a crystalline body directly on the restraint reduces the repercussions of the post-oscillation of the fixed restraint on the active area of the reed.
- the active area thus returns to its energetically optimal starting state as quickly as possible, and the overlapping of sound events is avoided.
- Kinetic disposal is also not attenuation of the secondary sound event, but rather a direct, almost instantaneous derivation of the sound energy that has entered the passive area, before it can be stored in the passive area and thus interferes with the primary sound event.
- the crystalline bodies are arranged in the passive area of the musical instrument, the best positions for arranging the bodies being determined either in simulations or experimentally.
- the mounting locations can be, for example, on the box bracket, on the plate wedge located between the cast plate and the box bracket, on the cast plate, on the feet, on the rollers, etc.
- the crystalline body is preferably a crystal with a high crystalline order, and the best results can be achieved with single crystals. Basically, the effect of kinetic disposal is greater, the higher the speed of sound in the crystal of the selected body. The more ordered a crystal of a solid, the higher the speed of sound in it.
- Materials that have the properties required for kinetic disposal are, for example, diamonds (real or synthetic, with a face-centered cubic crystal structure and a speed of sound of approx. 18000 m / s) or ceramic materials such as boron carbide, aluminum oxide, boron nitride, zirconium dioxide or the like . (with a speed of sound that is greater than 8000 m / s).
- the simulations and test series carried out by the applicant show that the size of the crystalline body (or its volume) has no influence on the effect of kinetic disposal achieved.
- the aim is to aim for sizes that are as small and inconspicuous as possible in relation to the location at which the crystalline body is attached, which are preferably in the range of edge lengths or diameters of the body between a few nanometers and a few centimeters.
- the crystalline bodies are preferably connected by a fixed, direct connection to the respective components of the musical instrument to be disposed of kinetically or to the passive areas of such components, in particular glued to them or embedded in them.
- the wing consists of a central main component, the rim, consisting of the wall 7 and the frame 6, which is set up on feet 10 with rollers 11 arranged thereon and closed on the top with a cover 8.
- the chair base or gaming table 9 On the underside of the front of the rim is the chair base or gaming table 9, on which the play mechanism required for striking the strings, consisting of a keyboard and a mechanism, is located.
- the central component of the rim is the soundboard 13 glued to the frame 6, usually made of spruce, with a cast plate 5, usually made of gray cast iron, on which the strings are stretched, and struts underneath that reinforce the body.
- the connection between the spreaders and the cast plate 5 consists of a box angle 4, the connection of the strings and the soundboard 13 is made by the bridge 14 firmly connected to the soundboard 13.
- the music stand 12 is located in the front upper part of the grand piano.
- the passive areas of the wing crystalline body 1 made of a material with a speed of sound in the solid body of more than 8,000 m / s, for example made of diamond, boron carbide or the like.
- Such a crystalline body 1 must be combined with the section of the passive area to be disposed of kinetically (for example the box angle 4, the cover 8 or the cast plate 5, see FIG Figures 3 to 5 ) are connected in such a way that direct, full-surface contact is made with the component on one side and the other side is exposed.
- This can be done, for example, by a countersunk hole in the form of a fitting hole 2 (s. Fig. 3 ) or by bonding 3 on a flat surface (s. Fig. 4 ) can be achieved.
- the size or volume of the crystalline body 1 applied for kinetic disposal depends on the one hand on the material used and the respective point of use and on the other requirements and can range in diameter from the nanometer range to several centimeters.
- FIGs. 6 and 7 the effect of kinetic disposal on the overall sound of an appropriately treated or equipped instrument is shown schematically.
- the time course of the envelope curve of the overall sound of a sound event generated in an instrument is in Fig. 6 in conventional construction and in Fig. 7 shown in modified design.
- the sound event of a wind instrument consists of a vibrating column of air inside a pipe.
- the pipe should not influence the air column, since natural vibrations of the pipe or the mouthpiece lead to interference and thus to distortions of the sound event. Therefore, the pipe / housing of a wind instrument can also be disposed of kinetically, in which the material (diamond, boron carbide, etc.) with the pipe conducts sound is connected, e.g. immediately behind the mouthpiece, near the funnel or similar.
- the primary sound event of a bowed and plucked instrument consists of a vibrating string that is coupled to a soundboard via a bridge. This soundboard amplifies the sound of the strings. Vibrations of the passive components such as the neck with the fingerboard are undesirable here. This can also be disposed of kinetically in the manner already described.
- vibration exciters such as hammer handles (piano and grand pianos), bows (string instruments), picks (plucked instruments), mallets and sticks (percussion instruments), etc.:
- the respective vibration exciter By triggering a sound event, the respective vibration exciter is also set into vibration. At the time the next sound event is triggered, energy from the previous event can still be stored in the vibration exciter and have a falsifying influence on the following event. The kinetic disposal takes place in the manner already described.
- membranophones such as timpani and drums, in which the influence of housing or body vibrations on the membrane is minimized through kinetic disposal, as well as other percussion instruments
- Orff's instruments vibraphones, marimbas and much more
- the crystalline body of a reed is connected directly to the clamping, it does not hinder the free swinging of the reed, but has a kinetic disposal.
- the reed vibrates more freely and the tone response is more direct.
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- Engineering & Computer Science (AREA)
- Physics & Mathematics (AREA)
- Acoustics & Sound (AREA)
- Multimedia (AREA)
- Manufacturing & Machinery (AREA)
- Stringed Musical Instruments (AREA)
- Auxiliary Devices For Music (AREA)
Description
Die Erfindung betrifft ein neuartiges Musikinstrument. Unter "passivem Bereich" eines Musikinstrumentes sind im Sinne dieser Erfindung solche Bauteile oder Bereiche von Bauteilen zu verstehen, die nicht unmittelbar für die Klangerzeugung benötigt sind. Beispiele solcher Bauteile sind z.B. bei einem Flügel oder Klavier die Gussplatte, auf der die Saiten aufgespannt sind, bei einer Violine der Hals, bei einer Pauke der Korpus, auf den die Membran aufgezogen ist usw.The invention relates to a novel musical instrument. For the purposes of this invention, “passive area” of a musical instrument is to be understood as meaning those components or areas of components which are not directly required for sound generation. Examples of such components are, for example, in a grand piano or upright piano the cast plate on which the strings are stretched, in a violin the neck, in a timpani the body on which the membrane is drawn, etc.
Im Gegensatz hierzu sind unter dem "aktiven Bereich" eines Musikinstrumentes im Sinne dieser Erfindung diejenigen Bauteile bzw. Bereiche von Bauteilen zu verstehen, die für die Klangerzeugung unmittelbar erforderlich sind, wie z.B. die Saiten eines Klaviers/Flügels oder einer Violine, das Rohrblatt einer Klarinette usw.In contrast to this, the "active area" of a musical instrument in the context of this invention is to be understood as meaning those components or areas of components that are directly required for sound generation, such as the Strings of a piano or a violin, the reed of a clarinet, etc.
Weiter werden zur Erläuterung der Erfindung die Begriffe "primäres Schallereignis" und "sekundäres Schallereignis" nachfolgend verwendet und sollen wie folgt verstanden werden: Ein primäres Schallereignis ist ein solches, welches durch die Schwingungen bzw. Vibrationen der Bauteile des aktiven Bereiches bzw. des aktiven Bereiches eines Bauteiles ausgelöst wird, mit anderen Worten also das eigentlich im Vordergrund für den Klang des Musikinstrumentes gewollte Schallereignis. Als sekundäres Schallereignis wird hier dagegen das durch Schwingungen bzw. Vibrationen der Bauteile des passiven Bereiches des Musikinstrumentes erzeugte Schallereignis verstanden, welches durch Überlagerung mit dem primären Schallereignis den Gesamtklang mitbestimmt.Furthermore, the terms "primary sound event" and "secondary sound event" are used below to explain the invention and should be understood as follows: A primary sound event is one that is caused by the oscillations or vibrations of the components of the active area or the active area of a component is triggered, in other words the sound event actually intended in the foreground for the sound of the musical instrument. In contrast, the secondary sound event is understood here to be the sound event generated by oscillations or vibrations in the components of the passive area of the musical instrument, which co-determines the overall sound by superimposing the primary sound event.
Im traditionellen Instrumentenbau wird der Einfluss von sekundären Schallereignissen auf das primäre Schallereignis als ein im wesentlichen unvermeidbarer Bestandteil des Gesamtklanges verstanden.In traditional instrument making, the influence of secondary sound events on the primary sound event is understood as an essentially unavoidable component of the overall sound.
Am Beispiel von Klavieren und Flügeln (vergleiche
Das gleiche Grundprinzip gilt für alle anderen Musikinstrumente ebenfalls: z.B. bei Streich- und Zupfinstrumenten durch die Schall leitende Verbindung der Resonanzdecke mit dem Instrumentenhals, bei Blasinstrumenten durch die Schall leitende Verbindung des Mundstückes mit dem Rohr, bei Schlaginstrumenten durch die Aufspannung der Membran auf den Rahmen, der wiederum Schall leitend mit dem Korpus verbunden ist, usw.The same basic principle applies to all other musical instruments as well: e.g. with string and plucked instruments through the sound-conducting connection of the soundboard with the neck of the instrument, with wind instruments through the sound-conducting connection of the mouthpiece to the tube, with percussion instruments through the tensioning of the membrane on the frame, which in turn is sound-conductively connected to the body, etc.
Hierdurch kommt es zu sehr komplexen Interferenzmustern und Phasenverschiebungen, bedingt durch die Laufzeitunterschiede und unterschiedlichen Resonanzcharakteristika der einzelnen Bauteile. Das Endergebnis ist ein Gesamtklang, der zwar durch das vom Resonanzboden 13 abgestrahlte primäre Schallereignis dominiert wird, dessen unverfälschte Reinheit, Klarheit und Dynamik jedoch durch die zahllosen, komplexen Interferenzen verzerrt, überdeckt und verwischt wird.This leads to very complex interference patterns and phase shifts due to the transit time differences and different resonance characteristics of the individual components. The end result is an overall sound which is dominated by the primary sound event emitted by the
Es hat insbesondere im Klavier- und Flügelbau in der Vergangenheit immer wieder Versuche gegeben, störende Schallereignisse zu reduzieren. So wurde die Gussplatte 5 beispielsweise mit großen Schallöffnungen versehen, und es wurden Gussplattenspreizen versuchsweise eliminiert. Flügelrollen 11 oder Untersetzer wurden speziell konzipiert (meist als Feder- oder Luftkissensysteme), um den Flügel vom Fußboden zu entkoppeln. Dabei bleiben jedoch bis dato alle Komponenten des Klaviers oder Flügels grundsätzlich Schall leitend miteinander verbunden.In the past, especially in piano and grand piano construction, there have been repeated attempts to reduce disturbing sound events. For example, the
Die Ankoppelung des Musikinstruments an seine Umgebung durch den Kontakt mit dem Fußboden durch z.B. die Rollen 11 bei einem Flügel oder Klaviere, den Stachel bei einem. Cello oder Kontrabass, die Ständer bei Trommeln, Pauken oder Harfen u.ä. führt zwangsläufig zu weiteren Resonanzerscheinungen.The coupling of the musical instrument to its environment through contact with the floor through, for example, the
Weiterhin gelten in diesem Zusammenhang Energiespeichereffekte der einzelnen Bauteile gleichsam als unvermeidbar. Unter dem Energiespeichereffekt wird folgendes Phänomen verstanden: Wenn ein Schallereignis ausgelöst wird, breitet sich die Schallenergie als ein zeitlicher Vorgang im gesamten Instrument aus. Da sich die Bauteile bis zu diesem Augenblick "in Ruhe" befinden, saugt sich jedes Bauteil erst einmal mit der in dieses einströmenden Schallenergie voll, bevor es zur Abstrahlung des Energieüberschusses in Schall leitend verbundene Bauteile sowie die umgebende Luft kommt. Im Falle der aktiven Bauteile (bei einem Klavier/Flügel z.B. Saiten, Steg 14 und Resonanzboden 13) ist dieser Effekt gewünscht und notwendig. In den passiven Bauteilen jedoch, die für das primäre Schallereignis bedeutungslos sind, führt die in sie gelangte Schallenergie, deren Anteil von Bauteil zu Bauteil verschieden hoch ist, zu Phasenverschiebungen und somit Interferenzen mit dem primären Schallereignis. Erschwerend kommt hinzu, dass bei normalem Spiel eines Musikinstrumentes viele unabhängige und unterschiedliche primäre Schallereignisse in sehr kurzen Zeitabständen ausgelöst werden. Diese Ereignisse überlappen sich zudem bei mehrstimmigem Spiel. Die Bauteile des Instrumentes befinden sich somit normalerweise beim Eintreffen eines neuen Schallereignisses nicht in Ruhe, sondern schwingen noch nach vom vorherigen Ereignis. Sind diese Ereignisse beim Resonanzboden noch teilweise erwünscht, da eine sofortige Abstrahlung der gesamten Schallenergie an das Medium Luft den Ton nur unerwünscht kurz bestehen lassen würde, so haben diese Effekte bei allen sonstigen (passiven) Bauteilen äußerst negative Einflüsse auf das durch die sekundären Schallereignisse überlagerte primäre Schallereignis.Furthermore, in this context, the energy storage effects of the individual components are considered to be unavoidable. The following phenomenon is understood by the energy storage effect: When a sound event is triggered, the sound energy spreads as a temporal process throughout the instrument. Since the components are "at rest" up to this point, each component is soaked up with the sound energy flowing into it before the excess energy is emitted into sound-conducting components and the surrounding air. In the case of the active components (eg strings,
Es ist daher Aufgabe der Erfindung, ein Musikinstrument anzugeben, mit welchem die Wirkung von sekundären Schallereignissen auf das primäre Ereignis unterbunden bzw. reduziert werden kann, indem insbesondere die Entstehung sekundärer Schallereignisse unterbunden wird, letztere zumindest in ihrer Intensität deutlich reduziert werden.It is therefore the object of the invention to specify a musical instrument with which the effect of secondary sound events on the primary event can be prevented or reduced by, in particular, the creation of secondary sound events is prevented, the latter are at least significantly reduced in their intensity.
Diese Aufgabe wird allgemein durch ein Musikinstrument mit den Merkmalen des Anspruchs 1 gelöst.This object is achieved in general by a musical instrument having the features of
Der wesentliche Aspekt der Erfindung liegt in der Erkenntnis, dass es möglich ist, Schallenergie mithilfe eines hier als "kinetische Entsorgung" bezeichneten Effektes aus einem Musikinstrument abzuleiten.The essential aspect of the invention lies in the knowledge that it is possible to derive sound energy from a musical instrument with the aid of an effect referred to here as "kinetic disposal".
Mit kinetischer Entsorgung wird im Rahmen dieser Erfindung die unmittelbare Ableitung der aus dem aktiven Bereich eines Musikinstrumentes in die passiven (idealerweise stillen) Bereiche (dies sind sämtliche sonstige Teile des Instrumentes) übergetretenen Energie in den das Instrument umgebenden Raum, bevor es zu Energiespeichereffekten im Instrument kommt. Die Ableitung in den umgebenden Raum geschieht dabei durch Transformation der Energie auf eine Ebene, die nicht mehr hörbare Schallenergie ist.With kinetic disposal, in the context of this invention, the direct dissipation of the energy transferred from the active area of a musical instrument into the passive (ideally silent) areas (these are all other parts of the instrument) into the space surrounding the instrument, before energy storage effects occur in the instrument comes. The dissipation into the surrounding space is done by transforming the energy to a level that is no longer audible sound energy.
In einem ersten Aspekt kann die kinetische Entsorgung an einem insgesamt dem passiven Bereich des Musikinstruments zuzurechnenden Bauteil erfolgen, um in diesem Bauteil auftretende Energiespeichereffekte und deren negative Rückwirkung auf das aktuelle oder gegebenenfalls nachfolgende primäre Schallereignis zu vermeiden.In a first aspect, the kinetic disposal can take place on a component that is allocated to the passive area of the musical instrument overall, in order to avoid energy storage effects occurring in this component and their negative repercussions on the current or possibly subsequent primary sound event.
Die kinetische Entsorgung wird erreicht, indem ein kristalliner Körper aus einem Material mit hoher Schallgeschwindigkeit im Festkörper (Schallgeschwindigkeit von mehr als 8.000 m/s) an den nicht für die Erzeugung des primären Schallereignisses benötigten Bauteilen des passiven Bereiches des Instrumentes angeordnet wird, um deren Schallabgabe an die Umgebung zu reduzieren, möglichst weitgehend zu eliminieren und um dessen Nachschwingen zu verringern oder zu vermeiden. Ausschlaggebend für die Wirkung des erfindungsgemäß eingesetzten kristallinen Körpers ist, dass zwischen ihm und dem Material des kinetisch zu entsorgenden Bauteils ein Potenzial der Schallgeschwindigkeiten vorhanden sein muss. Das für die kinetische Entsorgung eingesetzte Material muss stets eine höhere Schallgeschwindigkeit haben als das zu entsorgende Material. Je größer das Potenzial, desto deutlicher der Effekt (siehe Tabelle 1).The kinetic disposal is achieved by arranging a crystalline body made of a material with a high speed of sound in the solid body (speed of sound more than 8,000 m / s) on the components of the passive area of the instrument that are not required for the generation of the primary sound event in order to prevent their sound emission to the environment, to eliminate it as far as possible and to reduce or avoid its reverberation. The decisive factor for the effect of the crystalline body used according to the invention is that there must be a potential of the speed of sound between it and the material of the component to be disposed of kinetically. The material used for kinetic disposal must always have a higher speed of sound than the material to be disposed of. The greater the potential, the clearer the effect (see Table 1).
Für die kinetische Entsorgung von Bauteilen von Musikinstrumenten ergibt sich der Grad der kinetischen Entsorgung (Durchlassfaktor) durch das Verhältnis der Schallgeschwindigkeiten der beiden Materialien. Bei Verwendung eines Diamanten zur Entsorgung der Gussplatte eines Flügels (bestehend aus Grauguss) bspw. ergibt sich ein Durchlassfaktor von ca. 4:1 (18000 m/s : 4.500 m/s). Die typischerweise im Musikinstrumentenbau verwendeten, kinetisch zu entsorgenden Materialien sind Holz, Grauguss, Messing u.ä., deren Schallgeschwindigkeiten alle zwischen ca. 3.000 und 5.000 m/s liegen. Somit besteht zu Materialien, deren Schallgeschwindigkeit mindestens 8.000 m/s betragen, ein ausreichendes Potenzial, damit diese kinetisch entsorgend wirken können.
Durch die kinetische Entsorgung gelingt es auf eindeutige Weise, die in den passiven Bereich des Instrumentes gelangte Körper- und Luftschallenergie fast augenblicklich und als nicht hörbare Energie in einen Bereich außerhalb des gesamten Instruments abzuleiten, so dass sich lediglich der aktive Bereich als das schall- und klangbestimmende Element des Instruments auswirkt. Das Ergebnis ist ein unverfälschteres, klareres und dynamischeres primäres Schallereignis, frei von jenen Interferenzen und Verzerrungen, die in jedem nicht kinetisch entsorgten Musikinstrument zwangsläufig vorhanden sind. Dies bedeutet allerdings, dass in diesem Vorgang der kinetischen Entsorgung nichts von dem primären Schallereignis weggedämpft wird.The kinetic disposal makes it possible in a clear way to divert the body and air-borne sound energy that has entered the passive area of the instrument almost instantaneously and as inaudible energy into an area outside the entire instrument, so that only the active area can be seen as the acoustic and element of the instrument that determines the sound. The result is a more genuine, clearer and more dynamic primary sound event, free from those interferences and distortions that inevitably exist in any musical instrument that is not kinetically disposed of. However, this means that in this process of kinetic disposal nothing of the primary sound event is attenuated.
Die kinetische Entsorgung kann auch unmittelbar auf den aktiven Bereich zurückwirken. Das Rohrblatt einer Klarinette besteht beispielsweise aus einem aktiven (d.h. frei schwingenden) Bereich und einem passiven (d.h. fest eingespannten) Bereich. Die kinetische Entsorgung durch Anordnen eines kristallinen Körpers unmittelbar an der Einspannung reduziert die Rückwirkungen des Nachschwingens der festen Einspannung auf den aktiven Bereich des Rohrblattes. Der aktive Bereich kehrt damit schnellstmöglich in seinen energetisch optimalen Ausgangszustand zurück, Überlagerungen von Schallereignissen werden vermieden.The kinetic disposal can also have a direct effect on the active area. The reed of a clarinet, for example, consists of an active (i.e. freely vibrating) section and a passive (i.e. fixed) section. The kinetic disposal by placing a crystalline body directly on the restraint reduces the repercussions of the post-oscillation of the fixed restraint on the active area of the reed. The active area thus returns to its energetically optimal starting state as quickly as possible, and the overlapping of sound events is avoided.
Kinetische Entsorgung ist ebenfalls keine Dämpfung des sekundären Schallereignisses, sondern eine unmittelbare, fast verzögerungsfreie Ableitung der in den passiven Bereich gelangten Schallenergie, bevor es zu einer Speicherung derselben im passiven Bereich kommen könnte, und damit zu Interferenzen mit dem primären Schallereignis.Kinetic disposal is also not attenuation of the secondary sound event, but rather a direct, almost instantaneous derivation of the sound energy that has entered the passive area, before it can be stored in the passive area and thus interferes with the primary sound event.
Die kristallinen Körper werden dabei wie erwähnt im passiven Bereich des Musikinstrumentes angeordnet, wobei die besten Positionen zur Anordnung der Körper entweder in Simulationen oder experimentell ermittelt werden. Bei einem Klavier bzw. Flügel können die Anbringungsorte z.B. sein an dem Kastenwinkel, an dem sich zwischen Gussplatte und Kastenwinkel befindlichen Plattenkeil, an der Gussplatte, an den Füßen, an den Rollen usw.As mentioned, the crystalline bodies are arranged in the passive area of the musical instrument, the best positions for arranging the bodies being determined either in simulations or experimentally. In the case of a piano or grand piano, the mounting locations can be, for example, on the box bracket, on the plate wedge located between the cast plate and the box bracket, on the cast plate, on the feet, on the rollers, etc.
Bevorzugt ist der kristalline Körper ein Kristall mit hoher kristalliner Ordnung, wobei mit Einkristallen die besten Resultate erzielt werden können. Grundsätzlich gilt, dass der Effekt der kinetischen Entsorgung umso größer wird, je höher die Schallgeschwindigkeit in dem Kristall des gewählten Körpers ist. Je geordneter ein Kristall eines Festkörpers ist, desto höher ist die Schallgeschwindigkeit in demselben.The crystalline body is preferably a crystal with a high crystalline order, and the best results can be achieved with single crystals. Basically, the effect of kinetic disposal is greater, the higher the speed of sound in the crystal of the selected body. The more ordered a crystal of a solid, the higher the speed of sound in it.
Materialien, die die für die kinetische Entsorgung erforderlichen Eigenschaften aufweisen, sind z.B. Diamanten (echte oder synthetische, mit einer kubischflächenzentrierten Kristallstruktur und einer Schallgeschwindigkeit von ca. 18000 m/s) oder keramische Materialien wie z.B. Borcarbid, Aluminiumoxid, Bornitrid, Zirkoniumdioxid o.ä. (mit einer Schallgeschwindigkeit, die größer ist als 8000 m/s).Materials that have the properties required for kinetic disposal are, for example, diamonds (real or synthetic, with a face-centered cubic crystal structure and a speed of sound of approx. 18000 m / s) or ceramic materials such as boron carbide, aluminum oxide, boron nitride, zirconium dioxide or the like . (with a speed of sound that is greater than 8000 m / s).
In den von der Anmelderin durchgeführten Simulationen und Testreihen zeichnet sich ab, dass die Größe des kristallinen Körpers (bzw. sein Volumen) keinen Einfluss auf den erzielten Effekt der kinetischen Entsorgung hat. Anzustreben sind bezogen auf den Ort der Anbringung des kristallinen Körpers möglichst kleine und unauffällige Größen, die bevorzugt im Bereich von Kantenlängen bzw. Durchmessern des Körpers zwischen einigen Nanometern und einigen Zentimetern liegen werden.The simulations and test series carried out by the applicant show that the size of the crystalline body (or its volume) has no influence on the effect of kinetic disposal achieved. The aim is to aim for sizes that are as small and inconspicuous as possible in relation to the location at which the crystalline body is attached, which are preferably in the range of edge lengths or diameters of the body between a few nanometers and a few centimeters.
Die kristallinen Körper werden bevorzugt durch eine feste, unmittelbare Verbindung mit den jeweiligen kinetisch zu entsorgenden Bauteilen des Musikinstrumentes bzw. mit den passiven Bereichen solcher Bauteile verbunden, insbesondere mit diesen verklebt bzw. in diese eingelassen.The crystalline bodies are preferably connected by a fixed, direct connection to the respective components of the musical instrument to be disposed of kinetically or to the passive areas of such components, in particular glued to them or embedded in them.
Durch die kinetische Entsorgung werden erstmalig Mittel und Wege, beschrieben wie das primäre Schallereignis unverzerrt und unverfälscht durch Interferenzen von sekundären Schallereignissen abgestrahlt werden kann, indem die eingeleitete Schallenergie aus den Bauteilen, in denen diese nicht erwünscht ist, unmittelbar wieder abgeleitet wird, um die beschriebenen Energiespeichereffekte und daraus resultierenden Interferenzen zu vermeiden. Weitere Vorteile der Erfindung ergeben sich aus der nachfolgenden Beschreibung eines Ausführungsbeispiels anhand der beigefügten Figuren. Dabei zeigen:
- Fig. 1
- eine dreidimensionale Darstellung eines Flügels als Musikinstrument;
- Fig. 2
- eine Darstellung des Korpus des in
Fig. 1 gezeigten Flügels; - Fig. 3
- die erfindungsgemäße Anordnung eines kristallinen Körpers zur kinetischen Entsorgung am Kastenwinkel des in
Fig. 1 gezeigten Flügels, wobei der kristalline Körper in eine Passbohrung eingelassen ist; - Fig. 4
- eine Darstellung wie in
Fig. 3 mit dem Unterschied, dass hier der kristalline Körper auf die ebene Fläche aufgeklebt ist; - Fig. 5
- die Anordnung eines kristallinen Körpers an einer Spreize der Gussplatte zur kinetischen Entsorgung an diesem Bauteil;
- Fig. 6
- schematisch den Verlauf (die Hüllkurve) des Gesamtklanges eines mit einem herkömmlichen Instrument erzeugten Tones (Schallereignisses); und
- Fig. 7
- schematisch den Verlauf (die Hüllkurve) des Gesamtklanges eines mit einem veränderten Instrument erzeugten Tones (Schallereignisses).
- Fig. 1
- a three-dimensional representation of a grand piano as a musical instrument;
- Fig. 2
- a representation of the corpus of the in
Fig. 1 shown wing; - Fig. 3
- the inventive arrangement of a crystalline body for kinetic disposal at the box angle of the in
Fig. 1 shown wing, wherein the crystalline body is embedded in a fitting bore; - Fig. 4
- a representation as in
Fig. 3 with the difference that here the crystalline body is glued to the flat surface; - Fig. 5
- the arrangement of a crystalline body on a spreader of the cast plate for kinetic disposal on this component;
- Fig. 6
- schematically the course (the envelope curve) of the overall sound of a tone generated with a conventional instrument (sound event); and
- Fig. 7
- schematically the course (the envelope curve) of the overall sound of a tone produced with a modified instrument (sound event).
In den
Der Flügel besteht aus einem zentralen Hauptbauteil, dem Rim, bestehend aus der Wand 7 und der Zarge 6, der auf Füßen 10 mit daran angeordneten Rollen 11 aufgestellt und mit einem Deckel 8 oberseitig verschlossen wird. An der Vorderseite des Rim befindet sich unterseitig der Stuhlboden bzw. Spieltisch 9, auf welchem sich das zum Anschlagen der Saiten benötigte Spielwerk, bestehend aus einer Klaviatur (Tastatur) und einer Mechanik befindet. In dem Rim befindet sich als zentrales Bauteil der auf die Zarge 6 aufgeleimte Resonanzboden 13, üblicherweise aus Fichte bestehend, mit darüber liegender Gussplatte 5, üblicherweise aus Grauguss bestehend, auf der die Saiten aufgespannt sind, und darunter liegenden, den Korpus aussteifenden Spreizen. Die Verbindung zwischen Spreizen und Gussplatte 5 besteht aus einem Kastenwinkel 4, die Verbindung von Saiten und Resonanzboden 13 erfolgt durch den mit dem Resonanzboden 13 fest verbundenen Steg 14. Im vorderen oberen Teil des Flügels befindet sich das Notenpult 12.The wing consists of a central main component, the rim, consisting of the
In dem Flügel sind für die eigentliche Erzeugung des primären Schallereignisses, also für die zur Generierung des Tones erwünschten Schwingungen nur die folgenden, aktiven Bauteile verantwortlich: die Saiten, der Steg 14 und der Resonanzboden 13. Allerdings sind diese Teile mit den weiteren, Bauteilen des passiven Bereiches, wie z.B. der Gussplatte 5, dem Kastenwinkel 4, der Zarge 6, der Wand 7 und den Füssen 10, Schall leitend verbunden.Only the following active components are in the wing for the actual generation of the primary sound event, that is for the vibrations desired for generating the sound Responsible: the strings, the
Um in diesen Bauteilen des passiven Bereiches und in passiven Bereichen auch aktiv wirkender (an der Entstehung des primären Schallereignisses unmittelbar beteiligten) Bauteile auftretende Energiespeichereffekte zu unterbinden und durch Interferenz mit dem primären Schallereignis dieses verfälschende, sekundäre Schallereignisse zu vermeiden werden in den passiven Bereichen des Flügels kristalline Körper 1 aus einem Material mit einer Schallgeschwindigkeit im Festkörper von mehr als 8.000 m/s, z.B. aus Diamant, Borcarbid o.ä., angeordnet.In order to prevent energy storage effects occurring in these components of the passive area and also actively acting components (directly involved in the creation of the primary sound event) and to avoid this falsifying, secondary sound events through interference with the primary sound event, in the passive areas of the
Ein solcher kristalliner Körper 1 muss mit dem kinetisch zu entsorgenden Abschnitt des passiven Bereiches (z.B. dem Kastenwinkel 4, dem Deckel 8 oder der Gussplatte 5, siehe
Die Größe bzw. das Volumen des für die kinetische Entsorgung aufgebrachten kristallinen Körpers 1 ist einerseits von dem verwendeten Material sowie dem jeweiligen Einsatzpunkt und von den sonstigen Erfordernissen abhängig und kann im Durchmesser vom Nanometerbereich bis zu mehreren Zentimeter betragen.The size or volume of the
In den
Während in beiden Fällen der Klangaufbau in den Phasen "Attack" und "Decay" und der Nachhall "Sustain" identisch sind, wird durch die beschriebene kinetische Entsorgung und die damit verbundene Ausschaltung von Energiespeichereffekten erreicht, dass das Ausschwingen in der mit "Release" bezeichneten Phase deutlich kürzer ausfällt, im theoretischen Idealfall instantan. Die Ausschwingzeit geht mit anderen Worten gegen 0 ms, wie dies in der
Das Schallereignis eines Blasinstrumentes besteht aus einer schwingende Luftsäule im Inneren eines Rohres. Dabei sollte das Rohr die Luftsäule nicht beeinflussen, da Eigenschwingungen des Rohres oder des Mundstückes zu Interferenzen, und somit zu Verzerrungen des Schallereignisses führen. Daher lässt sich auch das Rohr/ Gehäuse eines Blasinstrumentes kinetisch entsorgen, in dem das Material (Diamant, Borcarbid o.ä.) mit dem Rohr schalleitend verbunden wird, z.B. unmittelbar hinter dem Mundstück, in der Nähe des Trichters o.ä.The sound event of a wind instrument consists of a vibrating column of air inside a pipe. The pipe should not influence the air column, since natural vibrations of the pipe or the mouthpiece lead to interference and thus to distortions of the sound event. Therefore, the pipe / housing of a wind instrument can also be disposed of kinetically, in which the material (diamond, boron carbide, etc.) with the pipe conducts sound is connected, e.g. immediately behind the mouthpiece, near the funnel or similar.
Das primäre Schallereignis eines Streich- und Zupfinstruments besteht aus einer in Schwingung gebrachten Saite, die über einen Steg an eine Resonanzdecke angekoppelt ist. Diese Resonanzdecke verstärkt den Saitenklang. Unerwünscht sind hier Schwingungen der passiven Bauteile wie z.B. des Halses mit dem Griffbrett. Dieser lässt sich ebenfalls in bereits beschriebener Weise kinetisch entsorgen.The primary sound event of a bowed and plucked instrument consists of a vibrating string that is coupled to a soundboard via a bridge. This soundboard amplifies the sound of the strings. Vibrations of the passive components such as the neck with the fingerboard are undesirable here. This can also be disposed of kinetically in the manner already described.
Das gleiche gilt z.B. für den Stachel von Cello und Kontrabass.The same applies, for example, to the sting of the cello and double bass.
Durch das Auslösen eines Schallereignisses wird der jeweilige Schwingungserreger ebenfalls in Schwingung versetzt. Zum Zeitpunkt des Auslösens des nächsten Schallereignisses kann noch Energie des vorhergehenden Ereignisses im Schwingungserreger gespeichert sein und einen verfälschenden Einfluss auf das nachfolgende Ereignis ausüben. Die kinetische Entsorgung erfolgt in bereits beschriebener Weise.By triggering a sound event, the respective vibration exciter is also set into vibration. At the time the next sound event is triggered, energy from the previous event can still be stored in the vibration exciter and have a falsifying influence on the following event. The kinetic disposal takes place in the manner already described.
Analog kann bei allen sonstigen Musikinstrumenten verfahren werden: Membranophone wie z.B. Pauken und Trommeln, bei denen der Einfluss von Gehäuse- bzw. Korpusschwingungen auf die Membran durch kinetische Entsorgung minimiert wird, sowie sonstige Perkussionsinstrumente), Orff'sches Instrumentarium, Vibraphone, Marimbas u.v.m.The same procedure can be used for all other musical instruments: membranophones such as timpani and drums, in which the influence of housing or body vibrations on the membrane is minimized through kinetic disposal, as well as other percussion instruments), Orff's instruments, vibraphones, marimbas and much more
Bei einer (hier nicht dargestellten) Verwendung des kristallinen Körpers zur Reduzierung des unmittelbar durch Rückwirkung aus dem passiven Bereich implizierten Nachschwingens eines Bauteils an einem Musikinstrument, welches sowohl zum einen Teil dem aktiven und zum anderem Teil dem passiven Bereich zuzuordnen ist (z.B. das Rohrblatt eines Holzblasinstrumentes, welches aus einem aktiven, d.h. frei schwingenden und einem passiven, d.h. fest eingespannten Teil besteht), schließlich muss dieser mit dem passiven Bereich des kinetisch zu entsorgenden Bauteils ebenfalls derart verbunden werden, dass einseitig ein unmittelbarer, vollflächiger Kontakt mit dem Bauteil hergestellt wird und die andere Seite frei liegt. Dabei muss jedoch die Position so gewählt werden, dass die gewünschte Schwingungsfähigkeit des Bauteils nicht behindert wird. Wenn der kristalline Körper z.B. bei einem Rohrblatt unmittelbar an der Einspannung verbunden wird, behindert er das freie Schwingen des Rohrblattes nicht, wirkt aber kinetisch entsorgend. Das Rohrblatt schwingt somit freier und die Tonansprache ist direkter.In the case of a use of the crystalline body (not shown here) to reduce the post-oscillation of a component on a musical instrument, which is directly implied by feedback from the passive area, which is to be assigned both to the active area and to the passive area (e.g. the reed of a Woodwind instrument, which consists of an active, i.e. freely vibrating and a passive, i.e. firmly clamped part), finally this must also be connected to the passive area of the kinetically disposed component in such a way that direct, full-surface contact is made with the component on one side and the other side is exposed. However, the position must be selected in such a way that the desired vibration ability of the component is not impeded. If, for example, the crystalline body of a reed is connected directly to the clamping, it does not hinder the free swinging of the reed, but has a kinetic disposal. The reed vibrates more freely and the tone response is more direct.
- 11
- kristalliner Körpercrystalline body
- 22
- PassbohrungFitting bore
- 33
- VerklebungBonding
- 44th
- KastenwinkelBox angle
- 55
- GussplatteCast plate
- 66th
- Zargeframe
- 77th
- Wandwall
- 88th
- Deckelcover
- 99
- Stuhlboden (Spieltisch)Chair base (gaming table)
- 1010
- Fußfoot
- 1111
- Rollerole
- 1212
- NotenpultMusic stand
- 1313th
- ResonanzbodenSoundboard
- 1414th
- Stegweb
Claims (1)
- A musical instrument with a crystalline body (1) arranged on at least one of its components (4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14) with a sound velocity in the solid body of more than 8 000 m/s, wherein the crystalline body (1) is a diamond, characterized in that the musical instrument is a piano or grand piano with an active region consisting of strings, bridge (14) and soundboard (13), which is directly required for sound generation, and a passive region not directly required for sound generation, which comprises the box angle (4), the plate wedge located between the cast plate (5) and the box angle (4), the cast plate (5), the feet (10) and rollers (11), and in that the at least one diamond is flatly bonded or embedded directly on the box angle (4) as a component of the passive region and the other side is exposed.
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EP14185620.3A EP2830038B1 (en) | 2006-09-04 | 2006-09-04 | Musical instrument |
EP06018419A EP1914714A1 (en) | 2006-09-04 | 2006-09-04 | Method for improving the sound of musical instruments |
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US20130092007A1 (en) * | 2011-09-14 | 2013-04-18 | Yamaha Corporation | Keyboard instrument |
US8735702B1 (en) * | 2012-03-21 | 2014-05-27 | Deborah R. Miles | Portable dissipating medium used for removal of vibrational interference in a bowed string of a violin family instrument |
USD783084S1 (en) * | 2013-04-05 | 2017-04-04 | Steinway & Sons | Piano |
CN107248404A (en) * | 2017-06-05 | 2017-10-13 | 陆俊豪 | A kind of method of violin regulation damping de-noising |
CN109102783B (en) * | 2017-06-20 | 2023-02-28 | 鲁润泽 | Multielement sampling noise shielding texture compensation sound field coincidence guqin sound-intensifying instrument stand |
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US59204A (en) * | 1866-10-30 | 1866-10-30 | Improvement in cornets and other wind-instrum ents | |
US2229440A (en) * | 1937-01-02 | 1941-01-21 | Carlisle Richard Wallace | Piano soundboard |
AT176731B (en) * | 1952-08-06 | 1953-11-25 | Hermann Jun Marschik | Device for eliminating the "wolf" from string instruments, especially cello |
US3769871A (en) * | 1972-04-25 | 1973-11-06 | J Cawthorn | Stone guitar with tuned neck |
US4607559A (en) * | 1984-01-23 | 1986-08-26 | Richard Armin | Stringed musical instrument |
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US5644095A (en) * | 1994-01-21 | 1997-07-01 | Davidson; John R. | Brass instrument improvement |
US5965832A (en) * | 1995-04-03 | 1999-10-12 | Davidson; John R. | Brass instrument improvement |
DE19527018C1 (en) * | 1995-07-24 | 1997-02-20 | Siemens Ag | Ultrasonic transducer |
US5986190A (en) * | 1997-10-18 | 1999-11-16 | Wolff; Steven B. | String bearing and tremolo device method and apparatus for stringed musical instrument |
US6664456B2 (en) * | 2001-04-03 | 2003-12-16 | Philip Momchilovich | Harmonic vibration damping device for musical instruments and firearms |
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US7645354B1 (en) * | 2003-07-30 | 2010-01-12 | Disanto Robert | Audio device having dense sound enhancing component |
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US7335831B2 (en) * | 2004-12-16 | 2008-02-26 | Cannonball Musical Instruments | Brass instrument |
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- 2007-08-29 CN CNA2007800326979A patent/CN101512635A/en active Pending
- 2007-08-29 JP JP2009527114A patent/JP2010503037A/en active Pending
Non-Patent Citations (2)
Title |
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ANONYMOUS: "How Pianos Work - Piano Construction, Function and Technical Books", 20 June 2006 (2006-06-20), XP055453057, Retrieved from the Internet <URL:https://web.archive.org/web/20060620030819/http://www.concertpitchpiano.com/GrandPianoConstruction.html> [retrieved on 20180221] * |
ANONYMOUS: "Piano - Wikipedia, the free encyclopedia", 30 August 2006 (2006-08-30), XP055453037, Retrieved from the Internet <URL:https://web.archive.org/web/20060830174758/https://en.wikipedia.org/wiki/Piano#Other_types_of_pianos> [retrieved on 20180221] * |
Also Published As
Publication number | Publication date |
---|---|
WO2008028847A1 (en) | 2008-03-13 |
JP2010503037A (en) | 2010-01-28 |
US20100050850A1 (en) | 2010-03-04 |
EP2830038A1 (en) | 2015-01-28 |
EP1914714A1 (en) | 2008-04-23 |
CN101512635A (en) | 2009-08-19 |
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