EP3308375B1 - Piano extended soft pedal - Google Patents
Piano extended soft pedal Download PDFInfo
- Publication number
- EP3308375B1 EP3308375B1 EP16807956.4A EP16807956A EP3308375B1 EP 3308375 B1 EP3308375 B1 EP 3308375B1 EP 16807956 A EP16807956 A EP 16807956A EP 3308375 B1 EP3308375 B1 EP 3308375B1
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- European Patent Office
- Prior art keywords
- piano
- pedal
- hammer
- soft
- soft mode
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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
- G10C3/00—Details or accessories
- G10C3/26—Pedals or pedal mechanisms; Manually operated sound modification means
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10C—PIANOS, HARPSICHORDS, SPINETS OR SIMILAR STRINGED MUSICAL INSTRUMENTS WITH ONE OR MORE KEYBOARDS
- G10C1/00—General design of pianos, harpsichords, spinets or similar stringed musical instruments with one or more keyboards
- G10C1/02—General design of pianos, harpsichords, spinets or similar stringed musical instruments with one or more keyboards of upright pianos
Definitions
- This invention relates to upright or vertical pianos, and, in particular, to soft pedal (or soft mode pedal) assemblies of such pianos.
- An acoustic piano employs various systems for transmitting energy from a finger or actuator input force into an auditory, vibrational force.
- the transmission system commonly called the “piano action”, or “action”
- action is a network of levers, cushions and hammers that accepts finger/actuator input force through a collection of pivotal levers, known as piano keys, or keys.
- the piano keys and piano actions focus this input force into rotating hammers of proportional density that are positioned to strike against tensioned wire strings.
- the piano hammers and their corresponding piano strings are both carefully constructed to match their acoustic properties, resulting in a tapered or graduated "scale” of components that cumulatively produce a multiple note span of musical frequencies.
- the piano strings act as media through which vibrational energy is transferred into an amplifier such as a soundboard, or electric speaker, where it ultimately is converted into audible sound.
- Pianos can produce a wide range of volumes. Larger pianos can further expand this range to include very loud sounds, such as heard in concert pianos that are expected to broadcast over an accompanying orchestra without the assistance of electronic amplification. Pianos are present in many households, schools, institutions, etc. Inevitably, this proximity of sound-producing instruments creates situations where sound control and reduction are necessary. Many piano manufacturers offer pianos with sound level reducing mechanisms that selectively restrict level of volume. In upright or vertical pianos, these mechanisms typically include a rail that can be actuated to shift the rest position of the piano hammers relative to the strings, moving the hammers closer to the strings so that the hammers strike the strings with less kinetic energy. This type of soft pedal rail or hammer rest rail reduces the piano volume to a level of sound calculated to avoid disruption of neighboring environments such as apartments, practice rooms, etc.
- a soft pedal system includes a soft pedal and a hammer rest rail mounted for movement between normal and soft mode positions.
- a piano key lift rail is mounted for movement between a normal mode position spaced from lifting contact with the keys and a soft mode position in contact with and lifting the keys and the wippen assemblies.
- a soft pedal linkage assembly between the soft pedal and the hammer rest rail and piano key lift rail upon actuation of the soft pedal, causes movement of the hammer rest rail and the piano hammers, and movement of the piano keys and the wippen assemblies, between normal and soft mode positions, in gap-closing motion.
- DE40041 C describes a piano with a knee- or foot-operated lever that decreases the distance between the hammers and the strings.
- an upright or vertical piano selectively playable in a normal mode and in two or more soft modes is disclosed according to claim 1.
- an upright or vertical piano selectively playable in a normal mode and in two or more other modes is disclosed according to claim 11.
- Objectives of this disclosure include providing an upright or vertical piano in which gaps in the piano action causing undesirable touch sensation of "lost motion" for the piano player are reduced or eliminated.
- the objectives may be are achieved with use of a soft mode pedal system having a soft mode pedal that actuates a hammer rest rail mounted for movement between a normal mode position, with a set of multiple piano hammers disposed at rest at a spaced distance from corresponding piano strings, and a soft mode position, with the set of multiple piano hammers moved into at rest positions relatively closer to the corresponding piano strings; and that actuates a piano key lift rail mounted for movement between a normal mode position spaced from lifting contact with piano keys and a soft mode position disposed in contact with and lifting the piano keys along with the piano wippen assemblies.
- a soft mode pedal linkage assembly in communication between the pedal and the hammer rest rail and piano key lift rail, upon actuation of the soft mode pedal, causes movement of the hammer rest rail, along with the piano hammers, and causes movement of the piano key lift rail, along with the piano keys and the piano wippen assemblies, between the normal mode position and the soft mode position, in gap-closing motion.
- gaps in the piano action causing undesirable touch sensation of "lost motion" for the piano player may be reduced or eliminated by use of a set of multiple bridle strap and bridle wire combinations, each bridle strap and bridle wire combination connecting a piano hammer to a corresponding piano wippen assembly, wherein the bridle strap and bridle wire combinations are mounted and/or adjusted to maintain the hammer assemblies and corresponding wippen assemblies together in gap-minimizing motion when an associated piano key is played.
- the tensioned bridle strap is mounted in a manner such that the span (i.e., effective length between attachments at opposite ends) of the tensioned bridle strap is approximately constant between initial position and final position, and also during transition between initial position and final position.
- a conventional upright or vertical piano 100 includes a series (or set) of piano keys 110 and corresponding piano actions 120 linked to rear segments 113 of the piano keys 110, which rest on a keyframe 115 attached to a keybed 116.
- Each piano action 120 is actuated by depressing the exposed playing surface 114 of a corresponding key 110.
- a series (or set) of (piano) hammer assemblies 130 includes rotatable piano hammers 135, each defining a forward throw direction, T, which are driven by corresponding wippen assemblies 150, and transmit forces applied upon the playing surfaces 114 of the corresponding keys 110.
- Each piano hammer 135 is aligned to strike a corresponding piano string or group of strings 180 upon being thrown. For example, the hammer 135 may strike between one and three strings 180 to produce the desired tone of the corresponding depressed key 110.
- each hammer assembly 130 includes a hammer 135 mounted at an upper end of a hammer shank 131, with the lower end of the hammer shank mounted to a butt assembly 136.
- the butt assembly 136 includes a butt 137, a dowel 138 and a catcher 139. Depressing or actuating piano key 110 causes a jack 154 of the associated wippen assembly 150 to push the butt assembly 136 of the hammer 135.
- the butt assembly 136 and the hammer shank 131 are rotated in a forward throw direction, T, toward the piano string or strings 180 associated with the piano hammer 135.
- the piano hammer 135 strikes the piano string(s) 180, indirectly producing an acoustic sound.
- the keys 110 are in a rest position, as shown in FIG. 2 (e.g., when a player is not pressing the keys 110), the hammers 135 remain in home positions, resting on a soft pedal or hammer rest rail 170 and/or the jack 154.
- a thin, flexible tether termed "bridle strap” 140, links the corresponding hammer and wippen assemblies 130, 150 and restricts these assemblies from rotating apart.
- bridle strap 140 links the corresponding hammer and wippen assemblies 130, 150 and restricts these assemblies from rotating apart.
- one end of the bridle strap 140 is attached, e.g., permanently attached, to the hammer assembly 130 at the butt assembly 136.
- the bridle strap 140 is connected to the butt assembly 136 at the junction of the dowel 138 and catcher 139.
- conventional bridle straps 140 remain slack and do not lift the wippen assemblies 150.
- the bridle strap 140 when the key 110 is unplayed, the bridle strap 140 is typically curved and slack as it joins the hammer and wippen assemblies 130, 150, and it has an indeterminate span (or distance between ends).
- the distance between the two terminations becomes smaller and the bridle strap 140 becomes relatively more relaxed (slack) to a minimum separation distance as the key is depressed, i.e., a bridle strap span smaller than the unplayed span.
- FIG. 3 depicts the moment when key 110 has reached nearly full depression.
- the key 110 has been pivoted about its central pivot point (P), lifting the wippen assembly 150.
- This movement in turn, has rotated the hammer assembly 130 toward the piano string 180 located to the left of the hammer assembly 130 (not shown).
- the flexible strap 140 is now noticeably more relaxed, i.e., the bridle strap span has decreased considerably from the initial span shown in FIG. 2 .
- the musician releases the key 110.
- Key weights 112 associated with, e.g., embedded in, the rear segment 113 of the key cause the key 110 to immediately pivot, returning to its initial, unplayed position.
- the wippen assembly 150 falls downward, while the hammer assembly 130 lags behind, in part due to its center of gravity being nearly vertical above its center of rotation.
- the bridle strap 140 has served no function in the piano action. Only when the falling wippen assembly 150 tensions the bridle strap 140, which is at or near its maximum span, does the bridle strap activate and pull the hammer assembly 130 backward toward its rest position.
- a temporary gap 145 opens between the jack 154 of the wippen assembly 150 and the butt assembly 136 of the hammer assembly 130 due to the time lag between the return motions of the two assemblies (i.e., the wippen assembly 150 and the hammer assembly 130).
- the gap 145 causes an unwanted touch sensation, known as "lost motion", at the beginning of the next keystroke if the key is played again before the gap 145 closes. If a second keystroke is initiated at this point, i.e., during key release, a clear sense of lost motion can be detected as the new keystroke must cause the wippen assembly 150 to traverse the gap 145 before contacting the hammer assembly 130.
- This temporary change in the feel of the piano action is near universally considered to be a negative characteristic specific to upright or vertical pianos.
- the motion of hammer rest rail 170 in the direction of resting rail motion moves all of the hammer assemblies 130 upward and toward the piano strings 180.
- the bridle strap 140 approaches a state of tension having a soft pedal span 146 (note its straightened attitude); however, the bridle strap 140 traditionally does not exert any lifting force on the lower wippen assembly 150.
- the soft pedal position of the hammer assemblies 130, in this lifted position results in another occurrence of lost motion due to a gap 147 ( FIG. 5B ), produced between the jack 154 and the butt assembly 136.
- the gap 147 due to the rotation of the hammer assemblies 130, is produced uniformly across the keyboard of vertical piano 100 when the soft pedal 160 is depressed.
- hammer assemblies 130 rotate back to their original positions, restoring their longer travel distance and eliminating the lost motion gap 147.
- the lost motion due to depression of soft pedal 160 has always been viewed as an undesirable but necessary compromise in the cost-limited upright or vertical piano action design.
- the piano key action arrangement of the current disclosure reduces the unwanted feel of lost motion by closing, or even eliminating, the gaps 145 and 147 between the hammer and wippen assemblies 430, 450, and undesirable gap 249 between the capstans and wippen assemblies can also result in the unwanted feeling of lost motion when the soft pedal is depressed (see FIGS. 15A and 15B ).
- a key lifting assembly including a rigid key lift rail 400 is positioned beneath the key rear segments 413 and lifts the keys 410.
- the rigid key lift rail 400 rotates around a fulcrum or pivot point 401.
- the lift rail 400 supports the keys 410 in a manner to maintain the keys at least in close proximity to, or, more preferably, in contact with, the wippen assembly 450. This arrangement results in significant reduction, or elimination, of the gaps 249 and 147 that otherwise result in lost motion of the piano action 420 during playing of the piano.
- At least three, e.g., four, five or more, co-linear pivot points 401 are located along the length of the piano keybed and act to support the rigid key lift rail 400 that contacts all eighty-eight keys 410.
- the rigid key lift rail 400 is lifted or pivoted by a rigid linkage system 480 represented by force, F, in the drawing. As shown in FIGS 6A and 6B , force, F, can be applied either behind or in front of the key rears 413, as long as the rigid key lift rail 400 rotates to contact the key rears 413.
- three collinear pivot points 401 distribute the lifting force, F, along the keybed, reducing flexure and ensuring that the rigid key lift rail 400 lifts all keys 410 by substantially the same distance.
- the rigid lift key rail 400 is desirably inflexible, the rigid key lift rail 400 can lift all key rear segments 413 as well as the wippen assemblies 450, uniformly. This improvement may be achieved, e.g., by a reduction in flexure of the rigid rail 400, i.e.
- the rigid key lift rail 400 of this disclosure is effectively inflexible and provides a constant, uniform lifting of the lift rail that is predictable spatially and over time, e.g. with typical variations in lifting force over time that would be undetectable to even an expert user of the piano 100, e.g., lifting distances of less than the thickness of a thin sheet of paper.
- the rigid key lift rail 400 is lifted in the direction shown by the arrow, F, ( FIGS. 6A and 6B ) when the soft pedal 160 is depressed (shown in FIGS. 1 and 9 ). Depressing the soft pedal 160 lifts the wippen assemblies 450, eliminating gap 249 between the key rear segments 413 and the wippen assemblies 450 (shown in FIGS. 15A and 15B ), and closing gap 145 of FIG. 4B between the wippen assemblies 450 and the hammer assemblies 430.
- contact between the rigid key lift rail 400 and the key rear segments 413 can be observed to cause the keys 410 to pivot, i.e., cause the front of the keys 410 to move downwards to some extent, e.g., 3-5 mm (or up to 2-7 mm in extreme adjustments) out of a total keystroke of about 10 mm measured at the front edge of the key, in response to the key rear segments 413 pivoting slightly upwards, depending on the magnitude of force, F.
- the rigid key lift rail 400 can be lifted or pivoted by a spring force.
- the spring force can provide all, or some, of the force, F, required to position the rigid key lift rail.
- the linkage system 480 communicates the actuating motion (of the player's foot) applied upon the soft pedal 160 to the rigid key lift rail 400.
- the piano configuration of FIG. 7 includes a linkage or hammer rest rail rod 165 that actuates the hammer rest rail 170 to pivot all eighty-eight hammer assemblies 430 upwards, closer to the strings 180.
- the linkage system 480 also includes an additional piano key lift rail rod 466, positioned vertically inside the lower half of the piano case. In the implementation shown in FIG.
- the bottom end of the piano key lift rail rod 466 rests on a soft pedal trap lever 462, while the top end pushes up on the rigid piano key lift rail 400.
- force is transmitted along the soft pedal trap lever 462 to both the linkage or hammer rest rail rod 165 (which lifts the hammer rest rail 170 to pivot the hammer assemblies 430) and the piano key lift rail rod 466, which raises the rigid piano key lift rail 400, and with it, the piano key rear segments 413 and the wippen assemblies 450.
- lift rod 466 can be adjusted for length via an in-line length adjuster 464.
- the length adjuster 464 regulates the lifting height of the two rods 165, 466 independently of each other.
- the length adjuster 464 is consists of a co-axial adjustment screw with a locking mechanism such as a locknut or friction threads, as is known in the art, and the linkage 165 and lift rod 466 are located longitudinally displaced (i.e., in succession) along the soft pedal trap lever 462.
- the two rods 165, 466 are located at the same longitudinal distance from the soft pedal 160, and a second embodiment of the length adjuster 464 still permits the length of lift rod 466 to be adjusted independently of linkage 165.
- the length adjuster 464 modifies the maximum lift height of the key lift rail, and can be adjusted after adjusting a nut (e.g., a wingnut) traditionally found on pianos for adjustment of the maximum lift height of the hammer rest rod.
- the rigid key lift rail 400 lifts the wippen assemblies 450 as a group and removes lost motion during depression of soft pedal 160.
- Precision configuration adjustment of each bridle wire 452 and bridle strap 440 combination, e.g. as described for prior implementations, is significantly less critical, and it is replaced by the global lifting of keys 410 and wippen assemblies 450 by the rigid key lift rail 400.
- the traditional slack bridle strap 440' can be repositioned to a state of higher tension 440 by shortening and/or bending the traditional bridle wire 452' to the position of use, i.e., bridle wire 452.
- a tightened bridle wire 452 and bridle strap 440 function to reduce dynamic lost motion (i.e., eliminate gap 145).
- the rigid key lift rail 400 removes dynamic lost motion (i.e., eliminating gap 145), and also reliably removes static lost motion (i.e., gap 147) that occurs only in soft mode.
- adjustment of the bridle wire/strap 452/440 can be simple and durable, without requiring precision or repeated adjustment.
- the tensioning function can be achieved without precision adjustment.
- the optimal height of bridle wire 452 (and also its angle and location) can be arranged during manufacture, instead of (or in addition to, if desired) during hand-regulation of the bridle wires 452 after the piano has been assembled, resulting in the advantages described herein.
- Tensioning of the bridle wires 452 to specification can be performed during the standard regulation operation, with no additional regulating labor, or it may electively be foregone completely, relying instead entirely upon the soft pedal system of this disclosure.
- a single rod 365 is mounted upon the soft pedal trap lever 462.
- This single rod 365 is formed of two stacked rod segments 365a, 365b.
- the lower rod segment 365a lifts the rigid key lift rail 400 and simultaneously lifts the upper rod segment 365b, which in turn lifts the hammer rest rail 270.
- the rod 365 is configured such that upper rod segment 365b lifts only the hammer rest rail 270 while the lower rod segment 365a lifts both the upper rod segment 365b and the rigid key lift rail 400.
- the gap-closing motion described above is achieved by both stacked rod segments 365a, 365b.
- the length of upper rod segment 365b can be adjusted independently of the length of lower rod segment 365a.
- a length adjuster 464 modifies the maximum lift height of the hammer rest rail, and can be adjusted after adjusting a nut (e.g., a wingnut) traditionally found on pianos for adjustment of the maximum lift height of the key lift rail and hammer rest rail.
- the traditional nut e.g., wingnut
- the traditional nut can first be used to adjust the maximum lift height of the hammer rest rail and the key lift rail, after which fixed length rod 365 can be rotated for final adjustment of the maximum lift height of key lift rail.
- FIG. 13 shows a further implementation of this disclosure, in which a traditional soft pedal linkage 165 spans from the soft pedal trap lever 462 up to the hammer rest rail 270.
- An appendage 385 positioned approximately two-thirds up rod 165 pushes upward on a short rod or linkage 390, which in turn pushes up on the rigid key lift rail 400, resulting in the gap-closing motion discussed above.
- a piano action 220 in another implementation of an upright piano, includes a relatively more tensioned bridle strap 240 and bridle wire 252 combination, i.e., a piano action 220 in which one or both of bridle strap 240 and bridle wire 252 are tensioned, or at least relatively more tensioned, than in conventional (prior art) upright or vertical pianos.
- the respective lengths of the bridle wire 252 and bridle strap 240 are chosen to maintain tensioning of the bridle strap 240 across the span between attachment of its respective ends to the bridle wire 252 and to the hammer assembly 230, with the span of the tensioned bridle strap being approximately constant between initial position and final position, and also during transition between initial position and final position. This permits the bridle strap 240, with minimal or no slack in rest position, to maintain a relatively constant tension through key depression and release.
- the gap 145 resulting in prior art pianos largely from a slack bridal strap, is largely eliminated, thereby greatly reducing or eliminating lost motion between the piano hammer and piano wippen assemblies 230, 250 during rapidly repeated keystrokes in normal, non-soft pedal mode.
- the relatively more tensioned bridle strap 240 and bridle wire 252 combination also produces a striking addition to the function of soft pedal 260, reducing the unwanted feel of lost motion by reducing or eliminating the gap 147 ( FIG. 5B ) between the hammer and wippen assemblies 230, 250 when the soft pedal is depressed. Since the bridle strap 240 is now at least close to tension in rest position (as shown in FIG. 14 ), during the raising of the hammers 235 with the soft pedal 260, the hammer and wippen assemblies 230, 250 remain in gap-closing proximity to, or in engagement with, each other at all times.
- the relatively more tensioned bridle strap 240 and bridle wire 252 combination depressing the soft pedal 260 rotates the hammer rest rail 270 and hammer assemblies 230, as in the traditional design (e.g., in the direction of motion 275).
- the relatively more tensioned bridle strap 240 and bridle wire 252 combinations lift the wippen assemblies 250 in tandem with the hammer assemblies 230, removing all the weight of the piano action 220 from the keys 210.
- the bridle strap 240 remains close to or in tension throughout motion of the piano action 220 (i.e., span 246 remains relatively unchanged during movement of the action 220).
- the soft pedal bridle strap span 246 is relatively unchanged from the bridle strap span 243 in normal mode (see FIG. 14 ).
- the keys 210 have key weights 212 in the rear segment 213.
- the vertical piano keys do not apply upward force against the hammer and wippen assemblies 230, 250, and so the presence of any lost motion, due either to use of the soft pedal 260 or to the playing of rapid, repeated keystrokes, is not mitigated by the keys.
- the keys 210 may not include weights 212, and thus may be unweighted in either the front or rear segments of the keys.
- an undesirable gap 249, between capstans 211 and wippen assemblies 250, can also result in the unwanted feeling of lost motion when the soft pedal 260 is depressed.
- a key lifting assembly including a lightly sprung lift rail 300 is positioned beneath the key rear segment 213.
- This lift rail 300 is mounted for movement in a direction of lift rail action (arrow 302) between a first position, preferably touching the bottom surface of, but not lifting, all 88 keys, and a second position, in which the lift rail 300 pivots (or otherwise moves) to lift the key rear segments 213, causing them to follow the motion of the wippen assemblies 230, thereby eliminating lost motion. Since the keys 210 pivot very easily, only a light spring force is applied by the lift rail 300 of the present disclosure, which therefore does not intrude on the touch characteristics of the piano action 220.
- the action 220 of the piano 200 of this disclosure is shown with the soft pedal 260 depressed and the lift rail 300 engaged.
- the lift rail 300 supports the keys 210 in a manner to maintain the keys in at least close proximity to, or in contact with, the wippen assembly 250.
- the combination of the lift rail 300 with the relatively tensioned bridle strap 240 and bridle wire 252 combination maintains contact between the keys 210 and the wippen assembly 250, and between the jack 254 and the butt assembly 236.
- the span 246 of the bridle strap 240 and bridle wire combination remains generally constant, including at the start and end points of, and during, travel. This design results in significant reduction, or elimination, of the gaps 249 and 147 resulting in lost motion of the piano action 220 during playing of the piano.
- FIG. 16 the key and keybed area of an upright piano 200 of this disclosure is shown in a top view, including keys 210 and the playing surfaces 214 of the keys.
- the keys 210 rest on a supporting keyframe 215, which is supported by a keybed 216.
- the lift rail 300 (shown in cross section in FIG. 15A ) spans the eighty-eight keys 210 of the upright piano, beneath the rear segments 213 of the keys 210.
- Two or more lift rail spring assemblies 310 which are also part of the key lifting assembly, are located at various selected positions beneath the keys along the length of the keyboard to provide force sufficient to lift the keys 210.
- the lift rail spring assemblies 310 can be located near the first key and the last keys, such as at position(s) 218.
- the lift rail spring assemblies 310 can be located at other positions along the keys, such as at one quarter and at three quarters along the length of the keyboard, or at one third and two thirds along the length of the keyboard.
- the embodiment as shown in FIG. 16 can have contact points as position(s) 218, or have three or more contact positions.
- key 210 is shown in cross section above the rail spring assembly 310, in an unlifted position.
- the key 210 (and each of the keys 210) rests against the lift rail 300.
- Each lift rail spring assembly 310 is fastened (e.g., with screws countersunk into holes 217 provided in keybed 216) into position (e.g., position 218, as shown in FIG. 8 ).
- An adjustment member, e.g. a knob, 314 is provided for raising (and/or lowering) the set position of the lift rail 300, and therefore of the keys 210, upwards (and/or downwards), thereby increasing (and/or decreasing) the lift force applied by the rail spring assembly 310.
- adjustment member 314 can be, e.g., a thumb screw, an Allen bolt adjustable by wrench, a screw adjustable by a screwdriver, or other suitable rotatable threaded or otherwise adjustable member.
- the lift rail spring assembly 310 consists of four portions: a knob portion 312, a keybed embedded portion 322, a keybed recess portion 332, and a lift rail portion 342.
- An assembly hole 219 at the base of the assembly countersink 217 of the keybed 216 fixedly receives a threaded insert 324.
- a machine screw 318 is threaded through the threaded insert 324 in the assembly hole 219, such that the machine screw 318 extends both below the keybed 216 and above, within the assembly countersink 217.
- a user wishing to adjust the relative lifting force of the lift rail 300, loosens locknut 320, advances or retracts the adjustment knob 314 (secured by locknut 316) attached to a bottom end of the machine screw 318, and then re-tightens locknut 320.
- Advancing or retracting the machine screw 318 i.e., relative to threaded insert 324 and locknut 320 changes the position of the machine screw 318 relative to the keybed 216. For example, advancing the machine screw 318 causes the machine screw 318 to move upwards, along with the components of the keybed recess portion 332 accommodated in the assembly countersink 217.
- the keybed recess portion 332 includes a compression spring 338 coaxially arranged about a screw 340 and resting at either end on a spring cap 336 (the spring cap 336 at the lower end being secured by locknut 334).
- the lift rail 300 rests against the upper spring cap 336, and supports the keys 210 above, which rest on a suitable cushioning material 344, such as a felt or foam piece at an upper surface of the lift rail 300.
- the biasing properties of the spring 338 are chosen such that the spring 338 exerts a force sufficient to lift the combined weight of the lift rail 300 and the keys.
- the force exerted by the spring 338 causes the lift rail 300 to maintain contact with and push upwardly on the key 210, causing the key in turn to remain in close proximity to, or engagement with, the wippen assembly 250, and the hammer assembly 230.
- a piano user or owner may elect to adjust the position of the lift rail 300 and/or the force exerted by the spring 338, e.g., when the piano 200 is manufactured, or at some later point during the life of the piano.
- the key lifting assembly is positioned to be sitting on the keybed 216 (not supported by the springs 338), with the lift rail 300 out of engagement with the bottom surfaces of the keys 210.
- the user then presses and holds the soft pedal 260, thereby lifting the hammer rest rail 270 and the hammers 235. Since the bridle straps 240 are tensioned, the wippen assemblies 250 are lifted along with the hammers 235, and the lost motion-producing gaps 249 appear.
- the user continues to hold the soft pedal 260 while turning the adjustment knobs 314 that control the embedded portion 322 of the lift rail 300 supporting the compression springs 338.
- Adjustment knobs 314 raises the embedded portion 322, which raises and compresses the springs 338, which raises the lift rail 300.
- the lift rail 300 As the lift rail 300 is raised, it lifts the keys 210 and closes the gaps 249.
- the user While holding the soft pedal 260, the user continues to raise the lift rail 300 (by turning the knobs 314) until the gaps 249 under all 88 keys are closed. At this point, the lost motion gaps produced between the key capstans 211 and wippen assemblies 250 are gone.
- a different protocol may be employed.
- the user turns the adjustment knobs 314 located beneath the keybed to raise the spring rail assembly 310 upward (relative to the rail 300).
- the user then turns the adjustment knobs 314 in the opposite direction until the affected hammers are no longer lifted.
- the lock nuts are then retightened to secure the adjustment.
- bridle straps 240 that are relatively longer or shorter than is typical in the prior art and/or bridle wires 252 that are relatively longer or shorter than typical in the prior art may be employed.
- the distribution of mass in the piano wippen assemblies 250 may also be rearranged or otherwise modified in a manner to urge or favor movement of the piano wippen assemblies acting under the force of gravity to rotate in the forward throw direction (arrow T, FIG. 3 ).
- other means e.g. mechanical, magnetic, or electromechanical linkages or the like, may be employed to impart upward lifting, downward pushing, or rotational forces in a manner to cause the piano wippen assemblies 250 to move with the piano hammers when the soft pedal is depressed.
- a lift rail 300 has been described, mechanisms that lift (or rotate) the rear segments 213 of the piano keys upward or push (or rotate) the forward segments of the piano keys (in front of the pivot) downward while the key is unplayed may also be employed, but do not form part of the present invention.
- this can include one or more downward-pushing elements engaging the forward segment of keys 210, producing rotational motion about the pivot point, P (shown in FIG. 3 ), e.g.
- Distribution of mass in the piano keys 210 may also be rearranged or otherwise modified, e.g. to shift the weight balance toward the front segments of the piano keys.
- lost motion may be reduced by adjustment of positioning of the upper end portion of the bridle wire 253 to which the associated end of the bridle strap 240 is pinned, e.g. by bending the body or a portion of the body of the bridle wire 253 (typically towards the player), and/or by adjusting, e.g. lengthening or shortening, the body of the bridle wire 253.
- the force exerted by the tensioned bridle strap 240 and bridle wire 252, in combination with the biasing force exerted by spring 338 when the piano is used in soft mode, can reduce or eliminate lost motion induced by separation of the elements of the piano key action.
- the soft pedal design of the present disclosure thus improves the normal mode of performance in the upright or vertical piano action by improving its touch characteristics to more closely resemble those of a grand piano.
- combining one or more of the above-described techniques and devices can result in an upright piano with improved lost-motion characteristics.
- the bent bridle wire 253 with a relatively shortened bridle wire 252 and shortened bridle strap 240, and the lift rail 300 are all shown employed in the piano 200.
- the variations of the span of the bridle strap 240 can result in differing reductions (improvements) in control of lost motion.
- changes in the lengths of the bridle strap 240 and bridle wire 252, and the bend (angle) of the bridle wire 253 (in combination with the lift rail 300) can be optimized such that gaps are reduced to, or nearly to, 0 mm during both normal and soft pedal modes of play, resulting in a 100% reduction in lost motion sensation.
- the gap may be reduced to less than 3 mm, e.g., to less than 2 mm, or to less than or equal to 1 mm.
- use of only a bent bridle wire 253 may reduce lost motion in normal mode by up to 60 or 70%, and use of a bent bridle wire 253 and a lift rail 300 may reduce lost motion by 60% to 70% in normal mode and in soft pedal mode.
- the lift rail 300 may have suitable cross sections other than a rectangular bar.
- lift rail 300 may have a cross-section configured as an I-beam 352, a C-channel 354, a rectangular tube 356, a rectangular bar 358, a square tube 360, a square bar 362, an N-channel 364, a U-Channel 366, a round tube 368, round bar 370, or any other suitable configuration.
- the lift rail 300 may be formed of metal, plastic, wood, or other suitable material.
- the rigid key lift rail 400 can have various cross sections as shown in FIGS. 20A-20J , and be formed of metal, plastic, wood, or other suitable material. Alternatively, rather than a separate rail, the rigid key lift rail 400 may be integrated into a back portion of the keybed 216. In this instance, a portion of the keybed 216 becomes a liftable surface.
- the rigid lift rail 400 lift mechanism can include a sectional adjustment for adjusting the key lift rail height separately in different sections of the piano.
- a sectional adjustment for adjusting the key lift rail height separately in different sections of the piano For example, one long key lift rail base with three short key lift rail cap sections can each attached to the base with two screws. The heights and angles of the three caps could be adjusted independently.
- a piano has a set of multiple bridle strap and bridle wire combinations.
- Each bridle strap and bridle wire combination connects a piano hammer to a corresponding piano wippen assembly, and the bridle strap and bridle wire combination are mounted and adjusted to maintain the hammer assembly and its corresponding wippen assembly together in gap-minimizing motion when an associated piano key is played.
- the piano may further include a soft mode pedal system, e.g. as has been described.
- the pianos of this disclosure may incorporate other implementations of the improved soft mode pedal system having other functional features.
- the new implementations may include an ultra-soft middle pedal function, a two-function middle pedal mechanism, e.g., and/or a variable piano keydip concept.
- FIGS. 21-23 showing a front view of the bottom portion of an upright piano, indicated generally at 500.
- the piano has a middle pedal 502 and a left pedal 504 linked to the same (soft mode pedal) trap lever 506 as shown, e.g., in the drawings.
- the right pedal 508 performs a traditional damper function.
- the middle pedal 502 can be piggy-backed on the improved (left) soft mode pedal 504, extending it to a deeper (softer) level.
- the middle pedal 502 is mounted to be depressed further (indicated, e.g., by arrow, D), which lifts the rigid key lift rail 400 (see, e.g., FIG. 12 ) positioned beneath the key rear segments 413 to lift the pianos key rear segments 413 relatively higher (indicated by arrow, H). It also lifts the hammer rest rail 270 to rotate the piano hammers 230 relatively closer to the strings 180 (indicated by arrow, J). The combination results in relatively shallower key dip (discussed below) and therefore a relatively quieter tone.
- Depression of the left pedal 504 results in a medium soft level of sound, while depression of the middle pedal 502 (indicated by arrow, F, shown in FIG. 23 ) results in a relatively more quiet level of sound.
- the improved soft mode pedal 502 and the ultra-soft middle pedal 504 both have obvious musical uses; namely, they can be pressed to achieve comparatively softer levels of tone when playing softer passages of music.
- one or both of the soft mode pedal 502 and the ultra-soft mode pedal 504 has a built-in locking mechanism 510.
- the locking mechanism 510 permits an additional option for playing the piano in a different fashion, i.e., with the piano 500 locked in improved soft mode, or in ultra-soft mode, for an extended period of time, e.g.
- the two-function pedal thus permits the piano to be selectively used in either of: (1) a "Debussy” mode (i.e., with operation of the improved soft mode pedal 504 used to achieve a musical effect), or (2) in an "Apartment mode” (i.e. with the ultra-soft mode pedal 502 engaged for extended periods or continuously, e.g., like a mute pedal).
- the locking of the two-function pedal arrangement is achieved by providing a second (vertical) pivot axis, X, for the pedal 504, creating a wider pedal travel path (e.g., represented by arrow, Y) near the bottom of the pedal stroke.
- the pedal 504 is locked in depressed position by a vertical stop surface 512 defined by a step 514 in the piano case part 516 positioned, e.g. to the right and/or to left of the main pedal travel path.
- This function could also be included for pedal 502.
- a vertical stop surface 518 defined by a vertically adjustable element 519, is disposed for locking engagement with middle pedal 502 in its axially-deflected position.
- the position of surface 518 is adjustable vertically, e.g. by a piano technician, by rotation of an adjustment member 520, e.g. a screw.
- variable keydip relates to the height difference at the front of the key, between an "at rest” position (AR) and a “fully depressed” position (FD).
- AR at rest
- FD "fully depressed” position
- Different people e.g. at different points in time, may have different preferences for the amount of keydip provided in a piano.
- modern pianos tend to be constructed with relatively more keydip (e.g., 0.400 inch), as compared to pianos of a century ago, when relatively less keydip (e.g., 0.375 inch) was the norm. Children also sometimes prefer less keydip, because it is makes playing easier for their smaller hands. Referring also to FIG.
- an additional feature of a piano 500 of the present disclosure and the improved soft mode pedal system (and the new ultra-soft mode pedal system) is that when the left pedal 504 (or middle pedal 502) is depressed, the associated keydip is reduced. To a historically-minded pianist, this reduced keydip will make the piano 500 seem more like a historic instrument. To a child (or to a weary adult), this adjustment will make the piano seem easier (and less tiring) to play.
- a two-function pedal with one stop setting (e.g., a locking notch 514 ( FIG. 24 ) or a vertical stop surface 518 ( FIG. 25 )) provides two keydip settings.
- an alternative mechanism may be provided, with additional discrete lock settings (e.g., additional particular locations where the pedal can be locked), or with continuous lock settings over a range (e.g., provided by means of with a hand-operated knob connected to a cable for that moves the improved soft mode pedal linkage system.
- the piano keys 410 rest on the rigid key lift rail 400 as well as a back rail.
- the rigid key lift rail 400 when at rest is positioned lower than the stationary back rail.
- the key rears 413 rest at all times on the key lift rail, and a back rail is eliminated. Removing the back rail, as is found in traditional pianos, removes a redundant part and increases simplicity of construction. Removal of the back rail also permits use of the extended soft pedal system to create a 'loud mode.' In loud mode, the back rail is absent, allowing the key rears 413 to fall lower than traditional back rail height.
- Loud mode can be activated by the same, or different pedal used to active soft mode or ultra-soft mode.
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Description
- This invention relates to upright or vertical pianos, and, in particular, to soft pedal (or soft mode pedal) assemblies of such pianos.
- An acoustic piano employs various systems for transmitting energy from a finger or actuator input force into an auditory, vibrational force. The transmission system, commonly called the "piano action", or "action", is a network of levers, cushions and hammers that accepts finger/actuator input force through a collection of pivotal levers, known as piano keys, or keys. The piano keys and piano actions focus this input force into rotating hammers of proportional density that are positioned to strike against tensioned wire strings. The piano hammers and their corresponding piano strings are both carefully constructed to match their acoustic properties, resulting in a tapered or graduated "scale" of components that cumulatively produce a multiple note span of musical frequencies. The piano strings act as media through which vibrational energy is transferred into an amplifier such as a soundboard, or electric speaker, where it ultimately is converted into audible sound.
- Pianos can produce a wide range of volumes. Larger pianos can further expand this range to include very loud sounds, such as heard in concert pianos that are expected to broadcast over an accompanying orchestra without the assistance of electronic amplification. Pianos are present in many households, schools, institutions, etc. Inevitably, this proximity of sound-producing instruments creates situations where sound control and reduction are necessary. Many piano manufacturers offer pianos with sound level reducing mechanisms that selectively restrict level of volume. In upright or vertical pianos, these mechanisms typically include a rail that can be actuated to shift the rest position of the piano hammers relative to the strings, moving the hammers closer to the strings so that the hammers strike the strings with less kinetic energy. This type of soft pedal rail or hammer rest rail reduces the piano volume to a level of sound calculated to avoid disruption of neighboring environments such as apartments, practice rooms, etc.
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US 2015/0096425 A1 describes a piano selectively playable in normal and soft modes that has multiple piano keys and actions, including a wippen assembly, and multiple piano hammers. A soft pedal system includes a soft pedal and a hammer rest rail mounted for movement between normal and soft mode positions. A piano key lift rail is mounted for movement between a normal mode position spaced from lifting contact with the keys and a soft mode position in contact with and lifting the keys and the wippen assemblies. A soft pedal linkage assembly between the soft pedal and the hammer rest rail and piano key lift rail, upon actuation of the soft pedal, causes movement of the hammer rest rail and the piano hammers, and movement of the piano keys and the wippen assemblies, between normal and soft mode positions, in gap-closing motion. -
DE40041 C describes a piano with a knee- or foot-operated lever that decreases the distance between the hammers and the strings. - According to one aspect of the disclosure, an upright or vertical piano selectively playable in a normal mode and in two or more soft modes is disclosed according to
claim 1. - According to another aspect of the disclosure, an upright or vertical piano selectively playable in a normal mode and in two or more other modes is disclosed according to claim 11.
- Preferred implementations are disclosed in the dependent claims.
- Objectives of this disclosure include providing an upright or vertical piano in which gaps in the piano action causing undesirable touch sensation of "lost motion" for the piano player are reduced or eliminated. In one implementation, the objectives may be are achieved with use of a soft mode pedal system having a soft mode pedal that actuates a hammer rest rail mounted for movement between a normal mode position, with a set of multiple piano hammers disposed at rest at a spaced distance from corresponding piano strings, and a soft mode position, with the set of multiple piano hammers moved into at rest positions relatively closer to the corresponding piano strings; and that actuates a piano key lift rail mounted for movement between a normal mode position spaced from lifting contact with piano keys and a soft mode position disposed in contact with and lifting the piano keys along with the piano wippen assemblies. A soft mode pedal linkage assembly in communication between the pedal and the hammer rest rail and piano key lift rail, upon actuation of the soft mode pedal, causes movement of the hammer rest rail, along with the piano hammers, and causes movement of the piano key lift rail, along with the piano keys and the piano wippen assemblies, between the normal mode position and the soft mode position, in gap-closing motion.
- In combination with the above implementation, or in another, separate implementation, e.g. in a piano playable in at least a normal mode, gaps in the piano action causing undesirable touch sensation of "lost motion" for the piano player may be reduced or eliminated by use of a set of multiple bridle strap and bridle wire combinations, each bridle strap and bridle wire combination connecting a piano hammer to a corresponding piano wippen assembly, wherein the bridle strap and bridle wire combinations are mounted and/or adjusted to maintain the hammer assemblies and corresponding wippen assemblies together in gap-minimizing motion when an associated piano key is played. For example, in one implementation, the tensioned bridle strap is mounted in a manner such that the span (i.e., effective length between attachments at opposite ends) of the tensioned bridle strap is approximately constant between initial position and final position, and also during transition between initial position and final position.
- The effectiveness and extent of the improvement in "lost motion" in different instruments, or even in the same instrument, can be expected to vary, e.g., as a result of the skill, experience and habits of the player, the playing conditions, the environment, the level maintenance of the piano and its parts, etc.
- The details of one or more implementations of the disclosure are set forth in the accompanying drawings and the description below. Other features, objects, and advantages of the disclosure will be apparent from the description and drawings, and from the claims.
-
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FIG. 1 is a side section view of a conventional (prior art) upright piano with a soft pedal system. -
FIG. 2 is a side view of a piano action of conventional (prior art) design in an unplayed position. -
FIG. 3 is a side view of the conventional (prior art) piano action ofFIG. 2 in a just-played position. -
FIG. 4A is a side view of the conventional (prior art) piano action ofFIG. 2 in a return from played position, whileFIG. 4B is a similar, somewhat enlarged, side view of the conventional (prior art) piano action ofFIG. 4A showing a gap between the jack and the butt. -
FIG. 5A is a side view of the conventional (prior art) piano action ofFIG. 2 with the soft pedal depressed, whileFIG. 5B is a similar, somewhat enlarged, side view of the conventional (prior art) piano action ofFIG. 5A , showing a gap between the jack and butt. -
FIGS. 6A is a side view, partially in section of a first configuration of an extended soft pedal piano action of this disclosure including a rigid lift rail. -
FIGS. 6B is a side view, partially in section of a second configuration of an extended soft pedal piano action of this disclosure including a rigid lift rail. -
FIG. 7 is a front view of bottom portion of an upright piano including a rigid linkage system lifting an embodiment of the rigid lift rail ofFIG. 6A . -
FIG. 8 is a close up view of a portion of the rigid linkage system ofFIG. 7 . -
FIG. 9 is a front view of bottom portion of an upright piano including a rigid linkage system lifting an embodiment of the rigid lift rail ofFIG. 6A . -
FIG. 10 is a close up view of a portion of the rigid linkage system ofFIG. 9 . -
FIG. 11 is a front view of bottom portion of an upright piano including a rigid linkage system lifting an embodiment of the rigid lift rail ofFIG. 6A . -
FIG. 12 is a close up view of a portion of the rigid linkage system ofFIG. 11 . -
FIG. 13 is a portion of an embodiment of a rigid linkage system. -
FIG. 14 is a side view, partially in section, of an extended soft pedal piano action of this disclosure including a rail, in an unplayed position -
FIG. 15A is a side view of the soft piano action ofFIG. 14 with the soft pedal depressed, whileFIG. 15B is a similar, somewhat enlarged, side view of the piano action ofFIG. 15A , showing a gap between the wippen assembly and the capstan. -
FIG. 15C is a side view of the soft pedal piano action ofFIG. 14 with the lost motion-producing gaps closed. -
FIG. 16 is a top view of an upright piano including the extended soft pedal piano action ofFIG. 14 . -
FIG. 17 is a side view, partially in section, of the extended soft pedal piano action ofFIG. 14 including a lift rail spring assembly. -
FIG. 18 is a detailed side view, partially in section, of the lift rail spring assembly ofFIG. 17 . -
FIG. 19 is a detailed side view of an embodiment of the soft pedal piano action ofFIG 15C . -
FIGS. 20A through 20J show alternative section views for the spring rail of the extended soft pedal piano action ofFIG. 6A orFIG. 14 . -
FIG. 21 is a front view of a front (isometric) view of the bottom portion of an upright piano of the disclosure, including three foot pedals, with the middle pedal and left pedal in "up" positions, i.e. in Normal mode. -
FIG. 22 is another front (isometric) view of a front view of the bottom portion of an upright piano of the disclosure, including three foot pedals, with the left pedal in depressed position, i.e. in Soft mode. -
FIG. 23 is another front (isometric) view of a front view of the bottom portion of an upright piano of the disclosure, including three foot pedals, with the middle pedal in depressed position, i.e. in Ultra-Soft mode. -
FIG. 24 is an isometric view of the bottom portion of an upright piano of the disclosure, including two foot pedals, with the left pedal is held in an axially-rotated, i.e. locked, position by a step in the case part. -
FIG. 25 is a front view of the bottom portion of an upright piano, including three foot pedals, with the pedal in axially-rotated position and locked by a stopper surface member having adjustable height, e.g. by a technician using a screw driver. - Like reference symbols in the various drawings indicate like elements.
- Referring to
FIG. 1 , a conventional upright orvertical piano 100 includes a series (or set) ofpiano keys 110 andcorresponding piano actions 120 linked torear segments 113 of thepiano keys 110, which rest on akeyframe 115 attached to akeybed 116. Eachpiano action 120 is actuated by depressing the exposed playingsurface 114 of acorresponding key 110. A series (or set) of (piano)hammer assemblies 130 includes rotatable piano hammers 135, each defining a forward throw direction, T, which are driven by correspondingwippen assemblies 150, and transmit forces applied upon the playing surfaces 114 of thecorresponding keys 110. Eachpiano hammer 135 is aligned to strike a corresponding piano string or group ofstrings 180 upon being thrown. For example, thehammer 135 may strike between one and threestrings 180 to produce the desired tone of the correspondingdepressed key 110. - Referring to
FIGS. 1 to 3 , eachhammer assembly 130 includes ahammer 135 mounted at an upper end of ahammer shank 131, with the lower end of the hammer shank mounted to abutt assembly 136. In the figures, thebutt assembly 136 includes abutt 137, adowel 138 and acatcher 139. Depressing or actuatingpiano key 110 causes ajack 154 of the associatedwippen assembly 150 to push thebutt assembly 136 of thehammer 135. When thejack 154 pushes thebutt assembly 136, thebutt assembly 136 and thehammer shank 131 are rotated in a forward throw direction, T, toward the piano string orstrings 180 associated with thepiano hammer 135. Thepiano hammer 135 strikes the piano string(s) 180, indirectly producing an acoustic sound. When thekeys 110 are in a rest position, as shown inFIG. 2 (e.g., when a player is not pressing the keys 110), thehammers 135 remain in home positions, resting on a soft pedal orhammer rest rail 170 and/or thejack 154. - A thin, flexible tether, termed "bridle strap" 140, links the corresponding hammer and
wippen assemblies FIG, 2 , one end of thebridle strap 140 is attached, e.g., permanently attached, to thehammer assembly 130 at thebutt assembly 136. In other implementations (not shown in the figures), thebridle strap 140 is connected to thebutt assembly 136 at the junction of thedowel 138 andcatcher 139. During normal use, conventional bridle straps 140 remain slack and do not lift thewippen assemblies 150. - Referring to
FIG. 2 , when the key 110 is unplayed, thebridle strap 140 is typically curved and slack as it joins the hammer andwippen assemblies bridle strap 140 becomes relatively more relaxed (slack) to a minimum separation distance as the key is depressed, i.e., a bridle strap span smaller than the unplayed span. -
FIG. 3 depicts the moment when key 110 has reached nearly full depression. The key 110 has been pivoted about its central pivot point (P), lifting thewippen assembly 150. This movement, in turn, has rotated thehammer assembly 130 toward thepiano string 180 located to the left of the hammer assembly 130 (not shown). Theflexible strap 140 is now noticeably more relaxed, i.e., the bridle strap span has decreased considerably from the initial span shown inFIG. 2 . - As shown in
FIGS. 4A and 4B , having played the note and caused thepiano hammer 135 to strike the appropriate piano string(s) 180, the musician releases the key 110.Key weights 112 associated with, e.g., embedded in, therear segment 113 of the key cause the key 110 to immediately pivot, returning to its initial, unplayed position. As the key 110 is no longer supporting thepiano action 120, thewippen assembly 150 falls downward, while thehammer assembly 130 lags behind, in part due to its center of gravity being nearly vertical above its center of rotation. Up to this point during a keystroke, thebridle strap 140 has served no function in the piano action. Only when the fallingwippen assembly 150 tensions thebridle strap 140, which is at or near its maximum span, does the bridle strap activate and pull thehammer assembly 130 backward toward its rest position. - As shown most clearly in
FIG. 4B , during this release of the piano key, atemporary gap 145 opens between thejack 154 of thewippen assembly 150 and thebutt assembly 136 of thehammer assembly 130 due to the time lag between the return motions of the two assemblies (i.e., thewippen assembly 150 and the hammer assembly 130). Thegap 145 causes an unwanted touch sensation, known as "lost motion", at the beginning of the next keystroke if the key is played again before thegap 145 closes. If a second keystroke is initiated at this point, i.e., during key release, a clear sense of lost motion can be detected as the new keystroke must cause thewippen assembly 150 to traverse thegap 145 before contacting thehammer assembly 130. This temporary change in the feel of the piano action is near universally considered to be a negative characteristic specific to upright or vertical pianos. - Lost motion also occurs when a soft pedal is depressed. Referring again to
FIG. 1 , when asoft pedal 160 of an upright orvertical piano 100 is depressed, an attached linkage orwire 165 actuates thehammer rest rail 170 to pivot all eighty-eighthammer assemblies 130 in a typical conventional (prior art)piano 100 upward and closer to thestrings 180. This reduction in hammer travel distance creates a sense of lower, "softer" tonal volume in thepiano 100. - As shown in
FIG. 5A , the motion ofhammer rest rail 170 in the direction of resting rail motion (arrow 175) moves all of thehammer assemblies 130 upward and toward the piano strings 180. At fullsoft pedal 160 depression, thebridle strap 140 approaches a state of tension having a soft pedal span 146 (note its straightened attitude); however, thebridle strap 140 traditionally does not exert any lifting force on thelower wippen assembly 150. The soft pedal position of thehammer assemblies 130, in this lifted position, results in another occurrence of lost motion due to a gap 147 (FIG. 5B ), produced between thejack 154 and thebutt assembly 136. Thegap 147, due to the rotation of thehammer assemblies 130, is produced uniformly across the keyboard ofvertical piano 100 when thesoft pedal 160 is depressed. When thesoft pedal 160 is released,hammer assemblies 130 rotate back to their original positions, restoring their longer travel distance and eliminating the lostmotion gap 147. As with the lost motion produced through rapidly repeated keystrokes in normal, non-soft pedal mode, the lost motion due to depression ofsoft pedal 160 has always been viewed as an undesirable but necessary compromise in the cost-limited upright or vertical piano action design. - Referring to
FIG. 6A , the piano key action arrangement of the current disclosure reduces the unwanted feel of lost motion by closing, or even eliminating, thegaps wippen assemblies undesirable gap 249 between the capstans and wippen assemblies can also result in the unwanted feeling of lost motion when the soft pedal is depressed (seeFIGS. 15A and 15B ). To compensate for thegap 249, a key lifting assembly including a rigidkey lift rail 400 is positioned beneath the keyrear segments 413 and lifts thekeys 410. The rigidkey lift rail 400 rotates around a fulcrum orpivot point 401. Thelift rail 400 supports thekeys 410 in a manner to maintain the keys at least in close proximity to, or, more preferably, in contact with, thewippen assembly 450. This arrangement results in significant reduction, or elimination, of thegaps - In preferred implementations, at least three, e.g., four, five or more, co-linear pivot points 401 are located along the length of the piano keybed and act to support the rigid
key lift rail 400 that contacts all eighty-eightkeys 410. The rigidkey lift rail 400 is lifted or pivoted by arigid linkage system 480 represented by force, F, in the drawing. As shown inFIGS 6A and6B , force, F, can be applied either behind or in front of the key rears 413, as long as the rigidkey lift rail 400 rotates to contact the key rears 413. - By way of example only, three collinear pivot points 401 distribute the lifting force, F, along the keybed, reducing flexure and ensuring that the rigid
key lift rail 400 lifts allkeys 410 by substantially the same distance. As the rigid liftkey rail 400 is desirably inflexible, the rigidkey lift rail 400 can lift all keyrear segments 413 as well as thewippen assemblies 450, uniformly. This improvement may be achieved, e.g., by a reduction in flexure of therigid rail 400, i.e. by employing multiple (in this implementation, e.g., three or more, e.g., five) pivot points 401, or by employing arail 400 relatively greater stiffness or rigidity, and/or by reducing or eliminating flexibility resulting from use ofspring assemblies 310, as in other implementations discussed below. Flexibility in the spring arrangement increases the difficulty of calibrating multiple, e.g. more than two, springs evenly, thus, for reasons of practicality, restriction of the support to two springs. The springs can also experience variations of the spring lifting force over time. In contrast, the rigidkey lift rail 400 of this disclosure is effectively inflexible and provides a constant, uniform lifting of the lift rail that is predictable spatially and over time, e.g. with typical variations in lifting force over time that would be undetectable to even an expert user of thepiano 100, e.g., lifting distances of less than the thickness of a thin sheet of paper. - The rigid
key lift rail 400 is lifted in the direction shown by the arrow, F, (FIGS. 6A and6B ) when thesoft pedal 160 is depressed (shown inFIGS. 1 and9 ). Depressing thesoft pedal 160 lifts thewippen assemblies 450, eliminatinggap 249 between the keyrear segments 413 and the wippen assemblies 450 (shown inFIGS. 15A and 15B ), andclosing gap 145 ofFIG. 4B between thewippen assemblies 450 and thehammer assemblies 430. In some implementations, contact between the rigidkey lift rail 400 and the keyrear segments 413 can be observed to cause thekeys 410 to pivot, i.e., cause the front of thekeys 410 to move downwards to some extent, e.g., 3-5 mm (or up to 2-7 mm in extreme adjustments) out of a total keystroke of about 10 mm measured at the front edge of the key, in response to the keyrear segments 413 pivoting slightly upwards, depending on the magnitude of force, F. - In some implementations, the rigid
key lift rail 400 can be lifted or pivoted by a spring force. The spring force can provide all, or some, of the force, F, required to position the rigid key lift rail. - As shown in
FIG. 7 , thelinkage system 480 communicates the actuating motion (of the player's foot) applied upon thesoft pedal 160 to the rigidkey lift rail 400. Like thetraditional piano 100 shown inFIG. 1 , the piano configuration ofFIG. 7 includes a linkage or hammerrest rail rod 165 that actuates thehammer rest rail 170 to pivot all eighty-eighthammer assemblies 430 upwards, closer to thestrings 180. In the implementation shown in the drawings, thelinkage system 480 also includes an additional piano keylift rail rod 466, positioned vertically inside the lower half of the piano case. In the implementation shown inFIG. 7 , the bottom end of the piano keylift rail rod 466 rests on a softpedal trap lever 462, while the top end pushes up on the rigid pianokey lift rail 400. When thesoft pedal 160 is actuated, force is transmitted along the softpedal trap lever 462 to both the linkage or hammer rest rail rod 165 (which lifts thehammer rest rail 170 to pivot the hammer assemblies 430) and the piano keylift rail rod 466, which raises the rigid pianokey lift rail 400, and with it, the piano keyrear segments 413 and thewippen assemblies 450. - To account for two separate motions being actuated by depression of the
soft pedal 160,lift rod 466 can be adjusted for length via an in-line length adjuster 464. Thelength adjuster 464 regulates the lifting height of the tworods FIG. 8 , thelength adjuster 464 is consists of a co-axial adjustment screw with a locking mechanism such as a locknut or friction threads, as is known in the art, and thelinkage 165 andlift rod 466 are located longitudinally displaced (i.e., in succession) along the softpedal trap lever 462. In another implementation, shown inFIGS. 9 and10 , the tworods soft pedal 160, and a second embodiment of thelength adjuster 464 still permits the length oflift rod 466 to be adjusted independently oflinkage 165. In both implementations, thelength adjuster 464 modifies the maximum lift height of the key lift rail, and can be adjusted after adjusting a nut (e.g., a wingnut) traditionally found on pianos for adjustment of the maximum lift height of the hammer rest rod. - The rigid
key lift rail 400 lifts thewippen assemblies 450 as a group and removes lost motion during depression ofsoft pedal 160. Precision configuration adjustment of eachbridle wire 452 andbridle strap 440 combination, e.g. as described for prior implementations, is significantly less critical, and it is replaced by the global lifting ofkeys 410 andwippen assemblies 450 by the rigidkey lift rail 400. - Referring again to
FIG. 6A , the traditional slack bridle strap 440' can be repositioned to a state ofhigher tension 440 by shortening and/or bending the traditional bridle wire 452' to the position of use, i.e.,bridle wire 452. As described with respect to other implementations, a tightenedbridle wire 452 andbridle strap 440 function to reduce dynamic lost motion (i.e., eliminate gap 145). The rigidkey lift rail 400 removes dynamic lost motion (i.e., eliminating gap 145), and also reliably removes static lost motion (i.e., gap 147) that occurs only in soft mode. - In the present implementation, adjustment of the bridle wire/
strap 452/440 can be simple and durable, without requiring precision or repeated adjustment. As a result, the tensioning function can be achieved without precision adjustment. For example, the optimal height of bridle wire 452 (and also its angle and location) can be arranged during manufacture, instead of (or in addition to, if desired) during hand-regulation of thebridle wires 452 after the piano has been assembled, resulting in the advantages described herein. Tensioning of thebridle wires 452 to specification can be performed during the standard regulation operation, with no additional regulating labor, or it may electively be foregone completely, relying instead entirely upon the soft pedal system of this disclosure. - The configurations disclosed herein thus allow an upright piano to capture the performance benefits of reduced, or eliminated, lost motion during normal playing modes, while no longer relying on the bridle strap to precisely lift the wippen during soft pedal mode performance.
- Referring to
FIGS. 11 and12 , in another implementation of the soft pedal system, a single rod 365 is mounted upon the softpedal trap lever 462. This single rod 365 is formed of twostacked rod segments lower rod segment 365a lifts the rigidkey lift rail 400 and simultaneously lifts theupper rod segment 365b, which in turn lifts thehammer rest rail 270. The rod 365 is configured such thatupper rod segment 365b lifts only thehammer rest rail 270 while thelower rod segment 365a lifts both theupper rod segment 365b and the rigidkey lift rail 400. The gap-closing motion described above is achieved by both stackedrod segments upper rod segment 365b can be adjusted independently of the length oflower rod segment 365a. In this implementation, alength adjuster 464 modifies the maximum lift height of the hammer rest rail, and can be adjusted after adjusting a nut (e.g., a wingnut) traditionally found on pianos for adjustment of the maximum lift height of the key lift rail and hammer rest rail. Alternatively, with an in-line axial adjuster located at the rod-rail junction, the traditional nut (e.g., wingnut) can first be used to adjust the maximum lift height of the hammer rest rail and the key lift rail, after which fixed length rod 365 can be rotated for final adjustment of the maximum lift height of key lift rail. -
FIG. 13 shows a further implementation of this disclosure, in which a traditionalsoft pedal linkage 165 spans from the softpedal trap lever 462 up to thehammer rest rail 270. Anappendage 385 positioned approximately two-thirds uprod 165 pushes upward on a short rod orlinkage 390, which in turn pushes up on the rigidkey lift rail 400, resulting in the gap-closing motion discussed above. - In another implementation of an upright piano, a
piano action 220, shown, e.g., inFIG. 14 et seq., includes a relatively moretensioned bridle strap 240 andbridle wire 252 combination, i.e., apiano action 220 in which one or both ofbridle strap 240 andbridle wire 252 are tensioned, or at least relatively more tensioned, than in conventional (prior art) upright or vertical pianos. In particular, the respective lengths of thebridle wire 252 andbridle strap 240 are chosen to maintain tensioning of thebridle strap 240 across the span between attachment of its respective ends to thebridle wire 252 and to thehammer assembly 230, with the span of the tensioned bridle strap being approximately constant between initial position and final position, and also during transition between initial position and final position. This permits thebridle strap 240, with minimal or no slack in rest position, to maintain a relatively constant tension through key depression and release. Thegap 145, resulting in prior art pianos largely from a slack bridal strap, is largely eliminated, thereby greatly reducing or eliminating lost motion between the piano hammer andpiano wippen assemblies - The relatively more
tensioned bridle strap 240 andbridle wire 252 combination also produces a striking addition to the function of soft pedal 260, reducing the unwanted feel of lost motion by reducing or eliminating the gap 147 (FIG. 5B ) between the hammer andwippen assemblies bridle strap 240 is now at least close to tension in rest position (as shown inFIG. 14 ), during the raising of thehammers 235 with the soft pedal 260, the hammer andwippen assemblies - Referring as well to
FIG. 15A , with the relatively moretensioned bridle strap 240 andbridle wire 252 combination, depressing the soft pedal 260 rotates thehammer rest rail 270 andhammer assemblies 230, as in the traditional design (e.g., in the direction of motion 275). Now, however, the relatively moretensioned bridle strap 240 andbridle wire 252 combinations lift thewippen assemblies 250 in tandem with thehammer assemblies 230, removing all the weight of thepiano action 220 from thekeys 210. Thebridle strap 240 remains close to or in tension throughout motion of the piano action 220 (i.e., span 246 remains relatively unchanged during movement of the action 220). Additionally, the soft pedalbridle strap span 246 is relatively unchanged from thebridle strap span 243 in normal mode (seeFIG. 14 ). - Vertical or upright pianos, e.g. such as
piano 100, are typically weighted in theirrear segments 113 in order to achieve a desired level of touch resistance in the keys (in contrast to grand piano keys, which are typically weighted in the front segments). In the embodiment of the upright piano 200 of this disclosure, as shown inFIG. 15A , thekeys 210 havekey weights 212 in therear segment 213. As a result, the vertical piano keys do not apply upward force against the hammer andwippen assemblies keys 210 may not includeweights 212, and thus may be unweighted in either the front or rear segments of the keys. - Referring to
FIGS. 15A and 15B , anundesirable gap 249, betweencapstans 211 andwippen assemblies 250, can also result in the unwanted feeling of lost motion when the soft pedal 260 is depressed. To compensate for thegap 249 in thepiano action 220, a key lifting assembly including a lightly sprunglift rail 300 is positioned beneath the keyrear segment 213. Thislift rail 300 is mounted for movement in a direction of lift rail action (arrow 302) between a first position, preferably touching the bottom surface of, but not lifting, all 88 keys, and a second position, in which thelift rail 300 pivots (or otherwise moves) to lift the keyrear segments 213, causing them to follow the motion of thewippen assemblies 230, thereby eliminating lost motion. Since thekeys 210 pivot very easily, only a light spring force is applied by thelift rail 300 of the present disclosure, which therefore does not intrude on the touch characteristics of thepiano action 220. - Referring to
FIG. 15C , theaction 220 of the piano 200 of this disclosure is shown with the soft pedal 260 depressed and thelift rail 300 engaged. Thelift rail 300 supports thekeys 210 in a manner to maintain the keys in at least close proximity to, or in contact with, thewippen assembly 250. The combination of thelift rail 300 with the relatively tensionedbridle strap 240 andbridle wire 252 combination maintains contact between thekeys 210 and thewippen assembly 250, and between thejack 254 and thebutt assembly 236. During motion of thepiano action 220, thespan 246 of thebridle strap 240 and bridle wire combination remains generally constant, including at the start and end points of, and during, travel. This design results in significant reduction, or elimination, of thegaps piano action 220 during playing of the piano. - In
FIG. 16 , the key and keybed area of an upright piano 200 of this disclosure is shown in a top view, includingkeys 210 and the playing surfaces 214 of the keys. Thekeys 210 rest on a supportingkeyframe 215, which is supported by akeybed 216. The lift rail 300 (shown in cross section inFIG. 15A ) spans the eighty-eightkeys 210 of the upright piano, beneath therear segments 213 of thekeys 210. - Two or more lift
rail spring assemblies 310, which are also part of the key lifting assembly, are located at various selected positions beneath the keys along the length of the keyboard to provide force sufficient to lift thekeys 210. For example, the liftrail spring assemblies 310 can be located near the first key and the last keys, such as at position(s) 218. Alternatively, the liftrail spring assemblies 310 can be located at other positions along the keys, such as at one quarter and at three quarters along the length of the keyboard, or at one third and two thirds along the length of the keyboard. There can also be more than two liftrail spring assemblies 310 arranged at various positions along the keyboard. Similarly, the embodiment as shown inFIG. 16 can have contact points as position(s) 218, or have three or more contact positions. - Referring to
FIG. 17 , in another implementation of the lift rail spring assembly of this disclosure, key 210 is shown in cross section above therail spring assembly 310, in an unlifted position. The key 210 (and each of the keys 210) rests against thelift rail 300. Each liftrail spring assembly 310 is fastened (e.g., with screws countersunk intoholes 217 provided in keybed 216) into position (e.g.,position 218, as shown inFIG. 8 ). An adjustment member, e.g. a knob, 314 is provided for raising (and/or lowering) the set position of thelift rail 300, and therefore of thekeys 210, upwards (and/or downwards), thereby increasing (and/or decreasing) the lift force applied by therail spring assembly 310. Alternatively,adjustment member 314 can be, e.g., a thumb screw, an Allen bolt adjustable by wrench, a screw adjustable by a screwdriver, or other suitable rotatable threaded or otherwise adjustable member. - Referring to
FIGS. 17 and18 , the liftrail spring assembly 310 consists of four portions: aknob portion 312, a keybed embeddedportion 322, akeybed recess portion 332, and alift rail portion 342. Anassembly hole 219 at the base of theassembly countersink 217 of the keybed 216 fixedly receives a threadedinsert 324. Amachine screw 318 is threaded through the threadedinsert 324 in theassembly hole 219, such that themachine screw 318 extends both below thekeybed 216 and above, within theassembly countersink 217. A user, wishing to adjust the relative lifting force of thelift rail 300, loosenslocknut 320, advances or retracts the adjustment knob 314 (secured by locknut 316) attached to a bottom end of themachine screw 318, and then re-tightenslocknut 320. Advancing or retracting the machine screw 318 (i.e., relative to threadedinsert 324 and locknut 320) changes the position of themachine screw 318 relative to thekeybed 216. For example, advancing themachine screw 318 causes themachine screw 318 to move upwards, along with the components of thekeybed recess portion 332 accommodated in theassembly countersink 217. Thekeybed recess portion 332 includes acompression spring 338 coaxially arranged about ascrew 340 and resting at either end on a spring cap 336 (thespring cap 336 at the lower end being secured by locknut 334). Thelift rail 300 rests against theupper spring cap 336, and supports thekeys 210 above, which rest on asuitable cushioning material 344, such as a felt or foam piece at an upper surface of thelift rail 300. - The biasing properties of the
spring 338 are chosen such that thespring 338 exerts a force sufficient to lift the combined weight of thelift rail 300 and the keys. The force exerted by thespring 338 causes thelift rail 300 to maintain contact with and push upwardly on the key 210, causing the key in turn to remain in close proximity to, or engagement with, thewippen assembly 250, and thehammer assembly 230. - A piano user or owner may elect to adjust the position of the
lift rail 300 and/or the force exerted by thespring 338, e.g., when the piano 200 is manufactured, or at some later point during the life of the piano. - To adjust the key lifting assembly, the key lifting assembly is positioned to be sitting on the keybed 216 (not supported by the springs 338), with the
lift rail 300 out of engagement with the bottom surfaces of thekeys 210. The user then presses and holds the soft pedal 260, thereby lifting thehammer rest rail 270 and thehammers 235. Since the bridle straps 240 are tensioned, thewippen assemblies 250 are lifted along with thehammers 235, and the lost motion-producinggaps 249 appear. To close thegaps 249 between thecapstans 211 andwippen assemblies 250, the user continues to hold the soft pedal 260 while turning the adjustment knobs 314 that control the embeddedportion 322 of thelift rail 300 supporting the compression springs 338. Turning the adjustment knobs 314 raises the embeddedportion 322, which raises and compresses thesprings 338, which raises thelift rail 300. As thelift rail 300 is raised, it lifts thekeys 210 and closes thegaps 249. While holding the soft pedal 260, the user continues to raise the lift rail 300 (by turning the knobs 314) until thegaps 249 under all 88 keys are closed. At this point, the lost motion gaps produced between thekey capstans 211 andwippen assemblies 250 are gone. - Alternatively, to adjust the position of the
lift rail 300 and/or the force exerted by thespring 338, a different protocol may be employed. In particular, from a position where thelift rail 300 is out of engagement with bottom surfaces of thekeys 210, the user turns the adjustment knobs 314 located beneath the keybed to raise thespring rail assembly 310 upward (relative to the rail 300). When all thehammers 235 are observed to be lifted off thelift rail 300, the user then turns the adjustment knobs 314 in the opposite direction until the affected hammers are no longer lifted. The lock nuts are then retightened to secure the adjustment. - A number of implementations of the disclosure have been described. Nevertheless, it will be understood that various modifications may be made. For example, other devices for lifting the
wippen assemblies 250 and the piano hammers 235 as a unit when the soft pedal 260 is depressed may also be employed. For example, bridle straps 240 that are relatively longer or shorter than is typical in the prior art and/orbridle wires 252 that are relatively longer or shorter than typical in the prior art may be employed. The distribution of mass in thepiano wippen assemblies 250 may also be rearranged or otherwise modified in a manner to urge or favor movement of the piano wippen assemblies acting under the force of gravity to rotate in the forward throw direction (arrow T,FIG. 3 ). Alternatively, or in addition, other means, e.g. mechanical, magnetic, or electromechanical linkages or the like, may be employed to impart upward lifting, downward pushing, or rotational forces in a manner to cause thepiano wippen assemblies 250 to move with the piano hammers when the soft pedal is depressed. - Although a
lift rail 300 has been described, mechanisms that lift (or rotate) therear segments 213 of the piano keys upward or push (or rotate) the forward segments of the piano keys (in front of the pivot) downward while the key is unplayed may also be employed, but do not form part of the present invention. For example, this can include one or more downward-pushing elements engaging the forward segment ofkeys 210, producing rotational motion about the pivot point, P (shown inFIG. 3 ), e.g. by engagement with upper surfaces of the keys, or by application of attractive or other forces to the forward or the rear segments of the keys, e.g., produced by light-weight magnets embedded in the keys, or electromagnetically attractive materials embedded in the keys for interaction with one or more magnetic elements in thekeyframe 215 orkeybed 216. Distribution of mass in thepiano keys 210 may also be rearranged or otherwise modified, e.g. to shift the weight balance toward the front segments of the piano keys. - In another implementation, shown in
FIG. 19 , lost motion may be reduced by adjustment of positioning of the upper end portion of thebridle wire 253 to which the associated end of thebridle strap 240 is pinned, e.g. by bending the body or a portion of the body of the bridle wire 253 (typically towards the player), and/or by adjusting, e.g. lengthening or shortening, the body of thebridle wire 253. - The force exerted by the tensioned
bridle strap 240 andbridle wire 252, in combination with the biasing force exerted byspring 338 when the piano is used in soft mode, can reduce or eliminate lost motion induced by separation of the elements of the piano key action. The soft pedal design of the present disclosure thus improves the normal mode of performance in the upright or vertical piano action by improving its touch characteristics to more closely resemble those of a grand piano. - In some implementations, combining one or more of the above-described techniques and devices can result in an upright piano with improved lost-motion characteristics. For example, in the implementation of
FIG. 19 , thebent bridle wire 253 with a relatively shortenedbridle wire 252 and shortenedbridle strap 240, and thelift rail 300 are all shown employed in the piano 200. However, it is recognized the variations of the span of thebridle strap 240 can result in differing reductions (improvements) in control of lost motion. For example, changes in the lengths of thebridle strap 240 andbridle wire 252, and the bend (angle) of the bridle wire 253 (in combination with the lift rail 300) can be optimized such that gaps are reduced to, or nearly to, 0 mm during both normal and soft pedal modes of play, resulting in a 100% reduction in lost motion sensation. In other implementations, the gap may be reduced to less than 3 mm, e.g., to less than 2 mm, or to less than or equal to 1 mm. - In the example shown in
FIG. 15C , only the relatively shortenedbridle wire 252, relatively shortenedbridle strap 240, andlift rail 300 are employed. - In a still further implementation, use of only a
bent bridle wire 253 may reduce lost motion in normal mode by up to 60 or 70%, and use of abent bridle wire 253 and alift rail 300 may reduce lost motion by 60% to 70% in normal mode and in soft pedal mode. - In other implementations, the
lift rail 300 may have suitable cross sections other than a rectangular bar. For example, as shown inFIGS. 20A through 20J , respectively,lift rail 300 may have a cross-section configured as an I-beam 352, a C-channel 354, arectangular tube 356, arectangular bar 358, asquare tube 360, asquare bar 362, an N-channel 364, a U-Channel 366, around tube 368,round bar 370, or any other suitable configuration. Thelift rail 300 may be formed of metal, plastic, wood, or other suitable material. - The rigid
key lift rail 400 can have various cross sections as shown inFIGS. 20A-20J , and be formed of metal, plastic, wood, or other suitable material. Alternatively, rather than a separate rail, the rigidkey lift rail 400 may be integrated into a back portion of thekeybed 216. In this instance, a portion of the keybed 216 becomes a liftable surface. - In further implementations, the
rigid lift rail 400 lift mechanism can include a sectional adjustment for adjusting the key lift rail height separately in different sections of the piano. For example, one long key lift rail base with three short key lift rail cap sections can each attached to the base with two screws. The heights and angles of the three caps could be adjusted independently. - In other implementations of a piano playable in at least a normal mode, and possibly, but not necessarily, selectively playable in a soft mode, a piano has a set of multiple bridle strap and bridle wire combinations. Each bridle strap and bridle wire combination connects a piano hammer to a corresponding piano wippen assembly, and the bridle strap and bridle wire combination are mounted and adjusted to maintain the hammer assembly and its corresponding wippen assembly together in gap-minimizing motion when an associated piano key is played.
- In still other implementations of the pianos described above, for example, in instances where the piano is selectively playable in soft mode, as well as in normal mode, the piano may further include a soft mode pedal system, e.g. as has been described.
- The pianos of this disclosure, e.g., as described above, may incorporate other implementations of the improved soft mode pedal system having other functional features. By way of example only, the new implementations may include an ultra-soft middle pedal function, a two-function middle pedal mechanism, e.g., and/or a variable piano keydip concept.
- One implementation of an ultra-soft middle pedal function will now be described, with reference to
FIGS. 21-23 , showing a front view of the bottom portion of an upright piano, indicated generally at 500. In the arrangement of this implementation of the ultra-soft mode pedal function, shown in inFIG. 21 in normal mode, the piano has amiddle pedal 502 and aleft pedal 504 linked to the same (soft mode pedal)trap lever 506 as shown, e.g., in the drawings. (Theright pedal 508 performs a traditional damper function.) - During play, the
middle pedal 502 can be piggy-backed on the improved (left)soft mode pedal 504, extending it to a deeper (softer) level. In particular implementations, themiddle pedal 502 is mounted to be depressed further (indicated, e.g., by arrow, D), which lifts the rigid key lift rail 400 (see, e.g.,FIG. 12 ) positioned beneath the keyrear segments 413 to lift the pianos keyrear segments 413 relatively higher (indicated by arrow, H). It also lifts thehammer rest rail 270 to rotate the piano hammers 230 relatively closer to the strings 180 (indicated by arrow, J). The combination results in relatively shallower key dip (discussed below) and therefore a relatively quieter tone. Depression of the left pedal 504 (indicated by arrow, I, shown inFIG. 22 ) results in a medium soft level of sound, while depression of the middle pedal 502 (indicated by arrow, F, shown inFIG. 23 ) results in a relatively more quiet level of sound. - A further implementation of the
left pedal 504 and themiddle pedal 502 in the soft and ultra-soft piano functions is described now with reference toFIGS. 24 and25 . In a two-function pedal arrangement, the improvedsoft mode pedal 502 and the ultra-softmiddle pedal 504 both have obvious musical uses; namely, they can be pressed to achieve comparatively softer levels of tone when playing softer passages of music. In this further implementation, however, one or both of thesoft mode pedal 502 and theultra-soft mode pedal 504 has a built-inlocking mechanism 510. Thelocking mechanism 510 permits an additional option for playing the piano in a different fashion, i.e., with thepiano 500 locked in improved soft mode, or in ultra-soft mode, for an extended period of time, e.g. in ultra-soft mode, thereby allowing thepiano 500 to be played without disturbing apartment neighbors or a sleeping baby. The two-function pedal thus permits the piano to be selectively used in either of: (1) a "Debussy" mode (i.e., with operation of the improvedsoft mode pedal 504 used to achieve a musical effect), or (2) in an "Apartment mode" (i.e. with theultra-soft mode pedal 502 engaged for extended periods or continuously, e.g., like a mute pedal). - Referring to
FIG. 24 , in one implementation, the locking of the two-function pedal arrangement is achieved by providing a second (vertical) pivot axis, X, for thepedal 504, creating a wider pedal travel path (e.g., represented by arrow, Y) near the bottom of the pedal stroke. Thepedal 504 is locked in depressed position by a vertical stop surface 512 defined by astep 514 in thepiano case part 516 positioned, e.g. to the right and/or to left of the main pedal travel path. This function could also be included forpedal 502. - Referring also to
FIG. 25 , in yet another implementation, avertical stop surface 518, defined by a vertically adjustable element 519, is disposed for locking engagement withmiddle pedal 502 in its axially-deflected position. The position ofsurface 518 is adjustable vertically, e.g. by a piano technician, by rotation of anadjustment member 520, e.g. a screw. - The feature of a variable keydip, described now with reference, e.g., to
FIG. 12 , relates to the height difference at the front of the key, between an "at rest" position (AR) and a "fully depressed" position (FD). Different people, e.g. at different points in time, may have different preferences for the amount of keydip provided in a piano. For example, modern pianos tend to be constructed with relatively more keydip (e.g., 0.400 inch), as compared to pianos of a century ago, when relatively less keydip (e.g., 0.375 inch) was the norm. Children also sometimes prefer less keydip, because it is makes playing easier for their smaller hands. Referring also toFIG. 21 , an additional feature of apiano 500 of the present disclosure and the improved soft mode pedal system (and the new ultra-soft mode pedal system) is that when the left pedal 504 (or middle pedal 502) is depressed, the associated keydip is reduced. To a historically-minded pianist, this reduced keydip will make thepiano 500 seem more like a historic instrument. To a child (or to a weary adult), this adjustment will make the piano seem easier (and less tiring) to play. - In one additional implementation, described with reference, e.g., to
FIGS. 12 and24-25 , a two-function pedal with one stop setting (e.g., a locking notch 514 (FIG. 24 ) or a vertical stop surface 518 (FIG. 25 )) provides two keydip settings. In other implementations, e.g. for situations where additional or multiple keydip settings are desired, an alternative mechanism may be provided, with additional discrete lock settings (e.g., additional particular locations where the pedal can be locked), or with continuous lock settings over a range (e.g., provided by means of with a hand-operated knob connected to a cable for that moves the improved soft mode pedal linkage system. - In some implementations, the
piano keys 410 rest on the rigidkey lift rail 400 as well as a back rail. With such a configuration, the rigidkey lift rail 400 when at rest is positioned lower than the stationary back rail. In further implementations, the key rears 413 rest at all times on the key lift rail, and a back rail is eliminated. Removing the back rail, as is found in traditional pianos, removes a redundant part and increases simplicity of construction. Removal of the back rail also permits use of the extended soft pedal system to create a 'loud mode.' In loud mode, the back rail is absent, allowing the key rears 413 to fall lower than traditional back rail height. This increased rotation of thekeys 410 causes the front of the keys to be higher than normal and the key dip larger than normal, increasing the distance travelled by thepiano assemblies 430 to strike the string, and resulting in a louder sound. Loud mode can be activated by the same, or different pedal used to active soft mode or ultra-soft mode. - Other implements of the disclosure may also be included in one or more of the following examples:
- Example 1 - A piano having a three-pedal configuration:
In this implementation, the left pedal is an improved Soft Mode pedal, the middle pedal is an Ultra-Soft Mode pedal, and the right pedal is a traditional Damper pedal. This piano thus permits use in both "Debussy" (selective Soft) mode and in "Apartment" (extended Ultra-Soft) mode. - Example 2 - A piano having a two-pedal configuration:
In this implementation, the left pedal is an improved Soft Mode pedal with lock, so that the piano can be used in both "Debussy" mode and in almost "Apartment" (improved Soft, but not Ultra-Soft) mode. The right pedal is a traditional Damper pedal. - Example 3 - A piano having a two-pedal configuration, with hand-operated lock:
In this implementation, the left pedal is an improved Soft mode pedal without lock, so that it can be used in both "Debussy" mode and in almost "Apartment" mode. The right pedal is a traditional Damper pedal. A hand-operated lever/cable system with Lock (e.g., with On/Off or with Continuously Variable locking engagement), to lock the key lift rail and the hammer rest rail in the improved Soft mode positions, so that the piano can be used in both "Debussy" and almost "Apartment" modes. - Example 4 - A piano having a three-pedal configuration:
In this implementation, the piano is generally as described with respect to the two-pedal configurations above, with the addition of a Middle pedal for some other use, e.g., sostenuto, felt mute rail, electronic control switch, etc., and with (or without) a hand-operated lever/cable system with lock. - The scope of the invention is defined by the appended claims.
Claims (15)
- An upright or vertical piano (500) selectively playable in a normal mode and in two or more soft modes, the piano comprising:a set of multiple piano keys (410);a set of multiple piano actions associated with said multiple piano keys, each said piano action including a piano wippen assembly (250) actuated by depression of a corresponding said piano key;a set of multiple piano hammers (235), each said piano hammer mounted for rotating movement and defining a forward throw direction toward at least one corresponding piano string (180), each said piano hammer being driven by a corresponding said piano wippen assembly to transfer force applied to an associated said piano key; anda soft mode pedal system comprising:a soft mode pedal and an ultra-soft mode pedal; characterized in that the soft mode pedal system further comprisesa hammer rest rail (270) mounted for movement among a normal mode position with said set of multiple piano hammers disposed at rest at a spaced distance from corresponding piano strings, a soft mode position with said set of multiple piano hammers moved into at rest positions closer to the corresponding said piano strings, relative to the normal mode position, and an ultra-soft mode position with said set of multiple piano hammers moved into at rest positions closer still to the corresponding said piano strings relative to the normal mode position;a piano key lift rail (400) mounted for movement among a normal mode position spaced from lifting contact with piano keys of said set of multiple piano keys, a soft mode position disposed in contact with and lifting said piano keys along with said piano wippen assemblies, and an ultra-soft mode position disposed in contact with and further lifting said piano keys along with said piano wippen assemblies; anda soft mode pedal linkage assembly in communication between said soft mode pedal and said ultra-soft mode pedal and said hammer rest rail and said piano key lift rail, wherein actuation by depression of said soft mode pedal causes movement of said hammer rest rail, along with said piano hammers, and causes movement of said piano keys, along with said piano wippen assemblies, between the normal mode position and the soft mode position, and wherein actuation by depression of said ultra-soft mode pedal causes relatively further movement of said hammer rest rail, along with said piano hammers, and causes relatively further movement of said piano keys, along with said piano wippen assemblies, between the normal mode position and the ultra-soft mode position.
- The piano of claim 1, wherein the ultra-soft mode pedal is a middle foot pedal (502), and optionally wherein the soft mode pedal is a left foot pedal (504).
- The piano of claim 1, wherein the hammer rest rail is additionally mounted for movement to a loud mode position with said set of multiple piano hammers moved into at rest positions further from the corresponding said piano strings, the piano key lift rail is additionally mounted for movement for a loud mode position disposed in contact with and lowering said piano keys.
- The piano of claim 1, further comprising:a hammer rest rail lock arranged for securing said hammer rest rail in a position with said set of multiple piano hammers moved into at rest positions relatively closer to the corresponding said piano strings,wherein actuation by depression of said soft mode pedal causes movement of said piano keys, along with said piano wippen assemblies, to the soft mode position, andwherein actuation by depression of said ultra-soft mode pedal causes relatively further movement of said piano keys, along with said piano wippen assemblies, to the ultra-soft mode position.
- The piano of claim 4, wherein said hammer rest rail lock is arranged for securing said hammer rest rail in at least one of the soft mode position and the ultra-soft mode position by locking engagement of a left foot pedal.
- The piano of claim 4, wherein said hammer rest rail lock is arranged for securing said hammer rest rail in at least one of the soft mode position and the ultra-soft mode position by locking engagement of a middle foot pedal.
- The piano of claim 4, wherein said hammer rest rail lock is arranged for securing said hammer rest rail in at least one of the soft mode position and the ultra-soft mode position by locking engagement of an actuator.
- The piano of claim 7, wherein said hammer rest rail lock is arranged for securing said hammer rest rail in at least one of the soft mode position and the ultra-soft mode position by locking engagement of a foot-operated actuator.
- The piano of claim 4, wherein said hammer rest rail lock is arranged for securing said hammer rest rail in at least one of the soft mode position and the ultra-soft mode position by locking engagement of a hand-operated actuator.
- The piano of claim 9, wherein said hand-operated actuator is a hand-operated actuator cable.
- An upright or vertical piano (500) selectively playable in a normal mode and in two or more other modes, the piano comprising:a set of multiple piano keys (410);a set of multiple piano actions associated with said multiple piano keys, each said piano action including a piano wippen assembly (250) actuated by depression of a corresponding said piano key;a set of multiple piano hammers (235), each said piano hammer mounted for rotating movement and defining a forward throw direction toward at least one corresponding piano string (180), each said piano hammer being driven by a corresponding said piano wippen assembly to transfer force applied to an associated said piano key; anda pedal system comprising:two foot pedals, with at least one foot pedal having a range of travel creating relatively different levels of softness or loudness; characterized in that the pedal system further comprisesa hammer rest rail (270) mounted for movement among a normal mode position with said set of multiple piano hammers disposed at rest at a spaced distance from corresponding piano strings, a soft mode position with said set of multiple piano hammers moved closer to the corresponding said piano strings, relative to the normal mode positions, and a loud mode position with said set of multiple piano hammers moved into at rest positions further from the corresponding said piano strings, relative to the normal mode positions;a piano key lift rail (400) mounted for movement among a normal mode position spaced from lifting contact with piano keys of said set of multiple piano keys, a soft mode position disposed in contact with and lifting said piano keys along with said piano wippen assemblies, and a loud mode position disposed in contact with and lowering said piano keys along with said piano wippen assemblies; anda pedal linkage assembly in communication between said pedal and said hammer rest rail and said piano key lift rail, wherein actuation by depression of said pedal causes movement of said hammer rest rail, along with said piano hammers, and causes movement of said piano keys, along with said piano wippen assemblies, among the normal mode position, the soft mode position, and the loud mode position.
- The piano of claim 11, wherein said piano further comprises:a hammer rest rail lock arranged for securing said hammer rest rail in a position with said set of multiple piano hammers moved into at rest positions relatively closer to or further from the corresponding said piano strings, relative to the normal mode positions; andsaid hammer rest rail lock comprises at least one said foot pedal in the form of a dual-locking pedal mounted in a pedal travel slot, with a relatively lower notch at one side of said pedal travel slot for relatively soft mode, and a relative higher notch at an opposite side of said pedal travel slot for relatively less soft mode.
- The piano of claim 12, wherein the at least two foot pedals include a left pedal having a hammer rest rail lock and a middle pedal having a hammer rest rail lock.
- The piano of claim 11, wherein said piano further comprises:a hammer rest rail lock arranged for securing said hammer rest rail in a position with said set of multiple piano hammers moved into at rest positions closer to or further from the corresponding said piano strings, relative to the normal mode positions;wherein said hammer rest rail lock has multiple settings, and optionally wherein the hammer rest rail lock comprises is a hand-operated cable lock.
- The piano of claim 11, wherein said piano further comprises:a hammer rest rail lock arranged for securing said hammer rest rail in a position with said set of multiple piano hammers moved into at rest positions closer to or further from the corresponding said piano strings, relative to the normal mode positions;wherein said hammer rest rail lock has a continuous range of settings, and optionally wherein the hammer rest rail lock comprises a hand-operated cable lock.
Applications Claiming Priority (3)
Application Number | Priority Date | Filing Date | Title |
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US201562174766P | 2015-06-12 | 2015-06-12 | |
US14/851,234 US9343044B2 (en) | 2013-10-03 | 2015-09-11 | Piano extended soft pedal |
PCT/US2016/027525 WO2016200483A1 (en) | 2015-06-12 | 2016-04-14 | Piano extended soft pedal |
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EP3308375A1 EP3308375A1 (en) | 2018-04-18 |
EP3308375A4 EP3308375A4 (en) | 2019-02-20 |
EP3308375B1 true EP3308375B1 (en) | 2020-07-29 |
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EP16807956.4A Active EP3308375B1 (en) | 2015-06-12 | 2016-04-14 | Piano extended soft pedal |
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CN (1) | CN108028039B (en) |
WO (1) | WO2016200483A1 (en) |
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- 2016-04-14 CN CN201680046835.8A patent/CN108028039B/en active Active
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Publication number | Publication date |
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EP3308375A1 (en) | 2018-04-18 |
EP3308375A4 (en) | 2019-02-20 |
CN108028039A (en) | 2018-05-11 |
CN108028039B (en) | 2022-01-21 |
WO2016200483A1 (en) | 2016-12-15 |
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