EP3540527B1 - Musical keyboard for a chiming mechanism of a timepiece - Google Patents

Musical keyboard for a chiming mechanism of a timepiece Download PDF

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Publication number
EP3540527B1
EP3540527B1 EP18162207.7A EP18162207A EP3540527B1 EP 3540527 B1 EP3540527 B1 EP 3540527B1 EP 18162207 A EP18162207 A EP 18162207A EP 3540527 B1 EP3540527 B1 EP 3540527B1
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EP
European Patent Office
Prior art keywords
heel
tine
tines
musical
blade
Prior art date
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Active
Application number
EP18162207.7A
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German (de)
French (fr)
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EP3540527A1 (en
Inventor
Younes Kadmiri
Polychronis Nakis Karapatis
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Montres Breguet SA
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Montres Breguet SA
Priority date (The priority date is an assumption and is not a legal conclusion. Google has not performed a legal analysis and makes no representation as to the accuracy of the date listed.)
Filing date
Publication date
Application filed by Montres Breguet SA filed Critical Montres Breguet SA
Priority to EP18162207.7A priority Critical patent/EP3540527B1/en
Priority to JP2019037241A priority patent/JP6857202B2/en
Priority to US16/291,000 priority patent/US11513476B2/en
Priority to CN201910193911.3A priority patent/CN110277078B/en
Publication of EP3540527A1 publication Critical patent/EP3540527A1/en
Application granted granted Critical
Publication of EP3540527B1 publication Critical patent/EP3540527B1/en
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    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10F—AUTOMATIC MUSICAL INSTRUMENTS
    • G10F1/00—Automatic musical instruments
    • G10F1/06—Musical boxes with plucked teeth, blades, or the like
    • G—PHYSICS
    • G04—HOROLOGY
    • G04B—MECHANICALLY-DRIVEN CLOCKS OR WATCHES; MECHANICAL PARTS OF CLOCKS OR WATCHES IN GENERAL; TIME PIECES USING THE POSITION OF THE SUN, MOON OR STARS
    • G04B21/00—Indicating the time by acoustic means
    • G04B21/02—Regular striking mechanisms giving the full hour, half hour or quarter hour
    • G04B21/08—Sounding bodies; Whistles; Musical apparatus
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10K—SOUND-PRODUCING DEVICES; METHODS OR DEVICES FOR PROTECTING AGAINST, OR FOR DAMPING, NOISE OR OTHER ACOUSTIC WAVES IN GENERAL; ACOUSTICS NOT OTHERWISE PROVIDED FOR
    • G10K1/00—Devices in which sound is produced by striking a resonating body, e.g. bells, chimes or gongs
    • G10K1/06—Devices in which sound is produced by striking a resonating body, e.g. bells, chimes or gongs the resonating devices having the shape of a bell, plate, rod, or tube
    • G10K1/062—Devices in which sound is produced by striking a resonating body, e.g. bells, chimes or gongs the resonating devices having the shape of a bell, plate, rod, or tube electrically operated
    • G10K1/066—Devices in which sound is produced by striking a resonating body, e.g. bells, chimes or gongs the resonating devices having the shape of a bell, plate, rod, or tube electrically operated the sounding member being a tube, plate or rod

Definitions

  • the invention relates to a musical keyboard optimized for a striking mechanism of a timepiece.
  • the invention also relates to a method for producing a musical keyboard optimized for a striking mechanism of a timepiece.
  • a timepiece such as a watch
  • a striking mechanism capable of generating a sound or a melody at predetermined instants or on demand.
  • a musical module having at least one musical keyboard.
  • This musical keyboard consists of several blades, which are generally all connected to the same heel for mounting on a fixed part of the timepiece, such as a bridge or a plate or a middle part for example.
  • the blades are preferably rectilinear and parallel to each other in the same plane.
  • the length of a reed defines a specific note, when it is activated by a corresponding activation organ of the musical module.
  • the activation member acts on a free end of the reed to make it vibrate so that it generates the defined note.
  • the figures 1a and 1b represent an embodiment of a classic musical keyboard for a ringing mechanism according to a three-dimensional view and a top view.
  • the musical keyboard 1 is in one-piece form. It comprises a set of rectilinear blades 3 connected to a heel 2 for fastening in particular by means of screws, not shown, passing through holes 5 of the heel 2 of the keyboard 1 in a case of a timepiece. These blades 3 can be arranged parallel to each other in the same plane. The space between each strip 3 may be identical.
  • Each free end of the blades 3 comprises an element 4 in the form of a cam, which defines a ramp.
  • the ramp can preferably define an acute angle slope with respect to the free end of the blade 3.
  • a ball or cylinder cutter can be used by passing over the heel 2 of the keyboard 1 and drawing a cord p according to the length of the blades to be produced.
  • the length of the blades is calculated to obtain a specific frequency and the width and thickness of the blades are identical for all the blades.
  • point A and point B are not symmetrical with respect to the bending plane of blade 3, and this causes the blade to twist when the latter is bent by the passage of a pin.
  • the bending energy is thus distributed in the bending and torsion modes. bending is no longer pure and therefore the energy transmitted to the blade is not maximized in its first bending mode, which is the one that one wishes to radiate.
  • the first natural mode of bending of blade 3 is not correctly activated and the damping is more pronounced due to the fact that blade 3 vibrates according to bending and torsion modes. Under these conditions, it can be seen that there is a vibratory transfer from an activated blade 3 to another neighboring blade 3, because during the bending of the blade 3 to be activated, a stress is generated at the level of the embedding of the blade 3 to the heel 2. This constraint can pre-constrain the neighboring blades 3 if these are coupled together and therefore generate unwanted bending of these same blades 3. Thus when the pin passes over the cam 4 at the free end of a blade 3, it activates this blade 3, but also the neighboring blades 3.
  • the melody then presents parasites, because instead of having the pure sound generated by the activation of a single blade 3, two, three or four neighboring blades 3 can vibrate at the same time, but at lower vibratory amplitudes. This has the consequence of generating dissonance and it is observed that the sound is no longer as pure as desired, which constitutes a drawback of a musical keyboard of the prior art.
  • the patent CH 498 463 describes a musical keyboard.
  • This musical keyboard comprises several rectilinear blades connected to a heel by forming a single piece with the heel.
  • the heel also includes grooves in the extension of the spaces between the blades.
  • nothing is described concerning a machining of the blades from the heel in such a way as to avoid any dissonance during the activation of one of the blades, which constitutes a disadvantage.
  • JP 2001-215956 describes a musical keyboard with non-straight blades, parallel to each other and grooves made in the heel.
  • the object of the invention is therefore to overcome the drawbacks of the state of the art by providing a musical keyboard optimized for a striking mechanism of a timepiece, in order to avoid any vibratory transfer from an activated blade to the neighboring reeds so as not to generate a dissonant sound.
  • the invention relates to a musical keyboard optimized for a striking mechanism of a timepiece, which comprises the characteristics defined in independent claim 1.
  • the musical keyboard for a striking mechanism according to the invention is such that in the extension of the spaces between each blade, grooves are made in the heel, which makes it possible to decouple the blades from each other and to limit the vibration transfer from one blade to another. In addition, this also very locally limits the stresses at the level of the embedding of the blade activated at the heel. In effect, when a blade is activated, the bending of the blade generates a stress at the level of the embedding of the blade, but thanks to the grooves in the heel, the latter is not sufficient to pre-constrain the neighboring blades, which therefore remain inactive.
  • each blade is machined one by one with a ball or cylinder milling cutter to obtain symmetry between connection points at the heel with respect to the bending plane of the blade.
  • the first bending mode is fully activated when an activation pin flexes a blade as it passes.
  • the energy transmitted, in the first bending mode is therefore maximum. It is the same for the vibratory amplitude, which is also maximum, which has the effect of increasing the acoustic level of the melody as well as the perception of the sound.
  • the invention also relates to a method for producing a musical keyboard optimized for a striking mechanism of a timepiece, which comprises the features of independent claim 9.
  • the figures 2a and 2b represent an embodiment of a musical keyboard 1 for a musical module of a ringing mechanism.
  • the keyboard 1 comprises a set of blades 3, which are straight. These blades 3 are arranged parallel to each other in the same plane. The space between each blade 3 can be identical. One end of each blade is fixed to the same heel 2.
  • the heel 2 comprises holes 5 for the passage of screws not shown in order to fix the heel 2 for example on a bridge connected to a plate or directly on a plate or a middle in the case of a timepiece, such as a musical watch.
  • the blades 3 are made in one piece with the heel 2 to form a single piece of the same material, that is to say a one-piece musical keyboard 1.
  • the material may for example be a metallic material, such as steel or copper, or a precious metal such as gold or platinum, or also an amorphous structural material, such as metallic glass.
  • an element 4 in the form of a cam, which defines a ramp, at a free end of each blade 3.
  • the ramp of the cam 4 preferably defines a slope d acute angle with respect to the free end of the blade 3.
  • An activation member such as a pin, can come into contact with the ramp of the cam 4 so as to raise or flex the corresponding blade 3.
  • Each activation pin of the corresponding blade 3 can be found for example on a cylinder or a disc of the striking mechanism.
  • the activation of each blade via the cam 4 is carried out by the movement of a respective pin in a plane parallel to the blades 3 and in the direction of the free end of the blade 3 to be activated.
  • a rectilinear part of the blade, which is located behind each element 4 on the side of the free end of each blade 3 is necessary for the frequency tuning of the musical keyboard 1.
  • the musical keyboard 1 is dimensioned in such a way as to have blades 3, whose fundamental frequencies remain lower than the desired frequencies, which constitute the melody or ringtone.
  • the removal of material from this end makes it possible to increase the frequency of each blade 3 and thus to obtain precise tuning of each of them to within 5 Hz.
  • This modification in length of each blade 3 avoids any modification in thickness of the blade 3, in the case where the frequency of the blade 3 is greater than the target frequency. Retouching the thickness would reduce the stiffness of each strip 3. The energy stored during the bending of the strip 3 would be lower, and so would the acoustic level.
  • each groove 6 can be identical to the space between two neighboring blades 3.
  • Each groove 6 can be made rectilinear and in the direction of the corresponding space between two blades neighbors 3.
  • the depth of each groove 6 can be identical to the thickness of each blade 3, or even greater to avoid any vibratory transfer from one blade 3 to another neighboring blade 3 during their activation.
  • the thickness of the heel 2 can be chosen between 2 to 10 times greater than the thickness of each strip 3.
  • the grooves 6 can also be made throughout the entire thickness of the heel 2.
  • This thickness of the heel 2 is necessary to consider that the boundary conditions of each blade 3 are defined as “embeddedfree”. Without this additional thickness of the heel 2, that is to say with a thickness similar to that of the blades 3 or of the grooves 6, this leads to a reduction in the stiffness of each blade 3. Thus the assembly consisting of the heel 2 and the blades 3 to the end of each groove 6 would undergo deformation during the activation of each blade 3.
  • the thickness of the heel also makes it possible to have a support surface with the plate or the covering of the timepiece while allowing the blades 3 to vibrate freely. Without this heel 2, and because the embedding of each blade 3 is located at different places depending on the lengths of the different blades 3, some blades 3 would be in direct contact with the plate or caseband. This would prevent the activated blade 3 from vibrating properly and with increased damping.
  • a preform already comprising the shape of a heel 2 extended from one side perpendicularly by a flat portion of lower thickness where the blades must be made.
  • An upper surface of the flat portion is in an extension parallel to an upper surface of the heel 2.
  • the blades 3 of the musical keyboard 1 are therefore machined one by one from their free end to their attachment to the heel 2.
  • the spaces between two neighboring blades 3 are made by a machining tool, which can be for example a milling cutter or a cutout over.
  • the grooves 6 in the heel 2 can be obtained directly by the machining tool following each space between two neighboring blades, or even at the end of the machining of the musical keyboard 1.
  • the thickness of each blade 3 and the cam 4 of the free end of each blade 3 is adapted by a milling operation, in particular by means of a ball or cylinder cutter.
  • each blade 3 at the level of the attachment of each blade 3 to the heel 2 as shown in figure 2b , it is obtained by this type of machining a symmetry between the points A1 and B1 with respect to the bending plane of the blade 3 linked to the heel 2.
  • Each line p1 connecting the points A1 and B1 is perpendicular to the direction of each blade 3.
  • the grooves 6 in the heel 2 of the musical keyboard 1 their purpose is to decouple the blades 3 from each other and to limit the vibration transfer from one blade 3 to another neighboring blade 3. Indeed , when a blade 3 is activated, for example bent by a pin, the bending of the blade 3 generates a stress at the level of the embedding of the blade 3 at the heel 2. These grooves 6 avoid the coupling between blades 3 of the musical keyboard 1 and very locally limit the stresses at the level of the embedding of each activated blade 3. The grooves 6 prevent imposing, on the neighboring blades, a normal movement.
  • the melody generated by the musical keyboard 1 in this configuration of the present invention can be considered as pure and free from interference or dissonances.
  • the figures 3a and 3b represent a comparison during the activation for example of the blade 3 of the highest sound between a classical musical keyboard 1 at the picture 3a and a musical keyboard 1 optimized with the grooves 6 according to the invention at the figure 3b .
  • the blade 3 activated after the passage of the pin vibrates.
  • vibration scale is given between Min and Max and represented on the three blades 3 for the classic musical keyboard 1 and the musical keyboard 1 optimized without generation of dissonances, because the two blades 3 neighboring the highest activated blade 3 do not vibrate normally not.
  • Each rectilinear blade may have a rectangular or circular or other cross-section, which may be identical over the entire length of the blade.
  • the cross section can also vary gradually or discontinuously along the length of each blade.

Description

Domaine de l'inventionField of the invention

L'invention concerne un clavier musical optimisé pour un mécanisme de sonnerie d'une pièce d'horlogerie.The invention relates to a musical keyboard optimized for a striking mechanism of a timepiece.

L'invention concerne également un procédé de réalisation d'un clavier musical optimisé pour un mécanisme de sonnerie d'une pièce d'horlogerie.The invention also relates to a method for producing a musical keyboard optimized for a striking mechanism of a timepiece.

Arrière-plan de l'inventionBackground of the invention

Dans le domaine de l'horlogerie, il peut être prévu de munir une pièce d'horlogerie, telle qu'une montre d'un mécanisme de sonnerie susceptible de générer un son ou une mélodie dans des instants prédéterminés ou à la demande. Pour la génération d'une mélodie, il est connu de monter dans le mécanisme de sonnerie un module musical ayant au moins un clavier musical. Ce clavier musical est constitué de plusieurs lames, qui sont en général toutes reliées à un même talon pour un montage sur une partie fixe de la pièce d'horlogerie, telle qu'un pont ou une platine ou une carrure par exemple. Les lames sont de préférence rectilignes et parallèles l'une par rapport à l'autre dans un même plan.In the field of watchmaking, provision may be made to provide a timepiece, such as a watch, with a striking mechanism capable of generating a sound or a melody at predetermined instants or on demand. For the generation of a melody, it is known to mount in the ringing mechanism a musical module having at least one musical keyboard. This musical keyboard consists of several blades, which are generally all connected to the same heel for mounting on a fixed part of the timepiece, such as a bridge or a plate or a middle part for example. The blades are preferably rectilinear and parallel to each other in the same plane.

Normalement la longueur d'une lame définit une note spécifique, lorsqu'elle est activée par un organe d'activation correspondant du module musical. L'organe d'activation vient agir sur une extrémité libre de la lame pour la faire vibrer afin qu'elle génère la note définie. Bien entendu, il est aussi connu d'avoir plusieurs groupes de lames parallèles dimensionnées d'une même longueur pour générer une même note musicale lors de leur activation.Normally the length of a reed defines a specific note, when it is activated by a corresponding activation organ of the musical module. The activation member acts on a free end of the reed to make it vibrate so that it generates the defined note. Of course, it is also known to have several groups of parallel blades dimensioned of the same length to generate the same musical note when activated.

Les figures 1a et 1b représentent une forme d'exécution d'un clavier musical classique pour un mécanisme de sonnerie selon une vue tridimensionnelle et une vue de dessus. Le clavier musical 1 est sous forme monobloc. Il comprend un ensemble de lames 3 rectilignes reliées à un talon 2 pour la fixation notamment au moyen de vis non représentées passant par des trous 5 du talon 2 du clavier 1 dans un boîtier d"une pièce d'horlogerie. Ces lames 3 peuvent être disposées parallèles l'une par rapport à l'autre dans un même plan. L'espace entre chaque lame 3 peut être identique.The figures 1a and 1b represent an embodiment of a classic musical keyboard for a ringing mechanism according to a three-dimensional view and a top view. The musical keyboard 1 is in one-piece form. It comprises a set of rectilinear blades 3 connected to a heel 2 for fastening in particular by means of screws, not shown, passing through holes 5 of the heel 2 of the keyboard 1 in a case of a timepiece. These blades 3 can be arranged parallel to each other in the same plane.The space between each strip 3 may be identical.

Chaque extrémité libre des lames 3 comprend un élément 4 sous forme de came, qui définit une rampe. La rampe peut définir de préférence une pente d'angle aigu par rapport à l'extrémité libre de la lame 3. Pour l'activation d'au moins une lame 3 du clavier musical 1, il est prévu un organe d'activation, tel qu'une goupille, qui vient en contact de la rampe de la came 4 pour soulever ou fléchir la lame 3, lors du déplacement dudit organe d'activation dans une direction de l'extrémité libre de la lame. Une fois que l'organe d'activation est déplacé au-delà de ladite came 4, la lame 3 est relâchée pour la mettre en vibration et générer une note déterminée.Each free end of the blades 3 comprises an element 4 in the form of a cam, which defines a ramp. The ramp can preferably define an acute angle slope with respect to the free end of the blade 3. For the activation of at least one blade 3 of the musical keyboard 1, there is provided an activation member, such a pin, which comes into contact with the ramp of the cam 4 to lift or flex the blade 3, during the movement of said activation member in a direction of the free end of the blade. Once the activation member is moved beyond said cam 4, blade 3 is released to set it in vibration and generate a determined note.

Pour faciliter la réalisation des lames 3 du clavier musical 1, il peut être utilisé une fraise à boule ou à cylindre en passant sur le talon 2 du clavier 1 et en dessinant un cordon p en fonction de la longueur des lames à réaliser. La longueur des lames est calculée pour obtenir une fréquence spécifique et la largeur et l'épaisseur des lames sont identiques pour toutes les lames. En procédant de cette manière et comme on peut le voir sur la figure 1b, le point A et le point B ne sont pas symétriques par rapport au plan de flexion de la lame 3, et cela engendre une mise en torsion de la lame, lorsque celle-ci est fléchie par le passage d'une goupille. L'énergie de flexion se répartit ainsi dans les modes de flexion et de torsion. La flexion n'est plus pure et donc l'énergie transmise à la lame n'est pas maximisée dans son premier mode de flexion, qui est celui que l'on souhaite rayonner.To facilitate the production of the blades 3 of the musical keyboard 1, a ball or cylinder cutter can be used by passing over the heel 2 of the keyboard 1 and drawing a cord p according to the length of the blades to be produced. The length of the blades is calculated to obtain a specific frequency and the width and thickness of the blades are identical for all the blades. By proceeding in this way and as can be seen in the figure 1b , point A and point B are not symmetrical with respect to the bending plane of blade 3, and this causes the blade to twist when the latter is bent by the passage of a pin. The bending energy is thus distributed in the bending and torsion modes. bending is no longer pure and therefore the energy transmitted to the blade is not maximized in its first bending mode, which is the one that one wishes to radiate.

Le premier mode propre de flexion de la lame 3 n'est pas correctement activé et l'amortissement est plus prononcé du fait que la lame 3 vibre selon des modes de flexion et de torsion. Dans ces conditions, on constate qu'il y a un transfert vibratoire d'une lame 3 activée à une autre lame 3 voisine, car lors de la flexion de la lame 3 à activer, une contrainte est générée au niveau de l'encastrement de la lame 3 au talon 2. Cette contrainte peut pré-contraindre les lames 3 voisines si celles-ci sont couplées entre elles et donc générer une flexion non désirée de ces mêmes lames 3. Ainsi lorsque la goupille passe sur la came 4 à l'extrémité libre d'une lame 3, elle active cette lame 3, mais aussi les lames 3 voisines. La mélodie présente alors des parasites, car au lieu d'avoir le son pur généré par l'activation d'une seule lame 3, deux, trois ou quatre lames 3 voisines peuvent vibrer en même temps, mais à des amplitudes vibratoires plus faibles. Cela a pour conséquence de générer une dissonance et on constate que le son n'est plus aussi pur que souhaité, ce qui constitue un inconvénient d'un clavier musical de l'art antérieur.The first natural mode of bending of blade 3 is not correctly activated and the damping is more pronounced due to the fact that blade 3 vibrates according to bending and torsion modes. Under these conditions, it can be seen that there is a vibratory transfer from an activated blade 3 to another neighboring blade 3, because during the bending of the blade 3 to be activated, a stress is generated at the level of the embedding of the blade 3 to the heel 2. This constraint can pre-constrain the neighboring blades 3 if these are coupled together and therefore generate unwanted bending of these same blades 3. Thus when the pin passes over the cam 4 at the free end of a blade 3, it activates this blade 3, but also the neighboring blades 3. The melody then presents parasites, because instead of having the pure sound generated by the activation of a single blade 3, two, three or four neighboring blades 3 can vibrate at the same time, but at lower vibratory amplitudes. This has the consequence of generating dissonance and it is observed that the sound is no longer as pure as desired, which constitutes a drawback of a musical keyboard of the prior art.

On peut citer encore le brevet US 3,013,460 , qui décrit un clavier musical avec un certain nombre de lames, qui sont toutes reliées à un talon venant directement de matière avec les lames. Le clavier peut être fixé sur une platine par des vis, qui passent par des ouvertures d'une plaque de couverture sur le dessus du talon, et des ouvertures dans le talon. L'épaisseur des lames est ajustée par une roue d'usinage, qui peut être déplacée depuis le talon et sur une partie de chaque lame pour régler la mélodie du clavier. Un couvert de la plaque sert à cacher les parties usinées de chaque lame. Cependant, rien n'est décrit concernant un usinage des lames depuis le talon de telle manière à éviter toute dissonance lors de l'activation d'une des lames, ce qui constitue un inconvénient.We can also cite the patent US 3,013,460 , which describes a musical keyboard with a number of reeds, all of which are connected to a stub that is directly integral with the reeds. The keyboard can be fixed to a platen by screws, which pass through openings in a cover plate on the top of the heel, and openings in the heel. The thickness of the reeds is adjusted by a machining wheel, which can be moved from the heel and over part of each reed to adjust the melody of the keyboard. A plate cover is used to hide the machined parts of each blade. However, nothing is described concerning a machining of the blades from the heel in such a way as to avoid any dissonance during the activation of one of the blades, which constitutes a disadvantage.

Le brevet CH 498 463 décrit un clavier musical. Ce clavier musical comprend plusieurs lames rectilignes reliées à un talon en ne formant qu'une seule pièce avec le talon. Le talon comprend également des rainures dans le prolongement des espaces entre les lames. Cependant, rien n'est décrit concernant un usinage des lames depuis le talon de telle manière à éviter toute dissonance lors de l'activation d'une des lames, ce qui constitue un inconvénient.The patent CH 498 463 describes a musical keyboard. This musical keyboard comprises several rectilinear blades connected to a heel by forming a single piece with the heel. The heel also includes grooves in the extension of the spaces between the blades. However, nothing is described concerning a machining of the blades from the heel in such a way as to avoid any dissonance during the activation of one of the blades, which constitutes a disadvantage.

La demande de brevet JP 2001-215956 décrit un clavier musical avec des lames non rectilignes, parallèles l'une par rapport à l'autre et des rainures pratiquées dans le talon.The patent application JP 2001-215956 describes a musical keyboard with non-straight blades, parallel to each other and grooves made in the heel.

Résumé de l'inventionSummary of the invention

L'invention a donc pour but de pallier les inconvénients de l'état de la technique en fournissant un clavier musical optimisé pour un mécanisme de sonnerie d'une pièce d'horlogerie, afin d'éviter tout transfert vibratoire d'une lame activée aux lames voisines pour ne pas générer un son dissonant.The object of the invention is therefore to overcome the drawbacks of the state of the art by providing a musical keyboard optimized for a striking mechanism of a timepiece, in order to avoid any vibratory transfer from an activated blade to the neighboring reeds so as not to generate a dissonant sound.

A cet effet, l'invention concerne un clavier musical optimisé pour un mécanisme de sonnerie d'une pièce d'horlogerie, qui comprend les caractéristiques définies dans la revendication indépendante 1.To this end, the invention relates to a musical keyboard optimized for a striking mechanism of a timepiece, which comprises the characteristics defined in independent claim 1.

Des formes d'exécution particulières du clavier musical optimisé sont définies dans les revendications dépendantes 2 à 8. Le clavier musical pour un mécanisme de sonnerie selon l'invention est tel que dans le prolongement des espaces entre chaque lame, il est réalisé des rainures dans le talon, ce qui permet de découpler les lames entre elles et de limiter le transfert vibratoire d'une lame à une autre. De plus, cela limite aussi très localement les contraintes au niveau de l'encastrement de la lame activée au talon. En effet, lorsqu'une lame est activée, la flexion de la lame génère une contrainte au niveau de l'encastrement de la lame, mais grâce aux rainures dans le talon, cette dernière n'est pas suffisante pour pré-contraindre les lames voisines, qui restent donc inactives.Particular embodiments of the optimized musical keyboard are defined in dependent claims 2 to 8. The musical keyboard for a striking mechanism according to the invention is such that in the extension of the spaces between each blade, grooves are made in the heel, which makes it possible to decouple the blades from each other and to limit the vibration transfer from one blade to another. In addition, this also very locally limits the stresses at the level of the embedding of the blade activated at the heel. In effect, when a blade is activated, the bending of the blade generates a stress at the level of the embedding of the blade, but thanks to the grooves in the heel, the latter is not sufficient to pre-constrain the neighboring blades, which therefore remain inactive.

Selon l'invention, lors de la réalisation d'un tel clavier musical optimisé, chaque lame est usinée une par une avec une fraise à boule ou à cylindre pour obtenir une symétrie entre des points de liaison au talon par rapport au plan de flexion de la lame. Ainsi, le premier mode de flexion est parfaitement activé lorsqu'une goupille d'activation vient fléchir une lame lors de son passage. L'énergie transmise, au premier mode de flexion, est donc maximale. Il en est de même de l'amplitude vibratoire, qui est aussi maximale, ce qui a pour effet d'augmenter le niveau acoustique de la mélodie ainsi que la perception du son.According to the invention, during the production of such an optimized musical keyboard, each blade is machined one by one with a ball or cylinder milling cutter to obtain symmetry between connection points at the heel with respect to the bending plane of the blade. Thus, the first bending mode is fully activated when an activation pin flexes a blade as it passes. The energy transmitted, in the first bending mode, is therefore maximum. It is the same for the vibratory amplitude, which is also maximum, which has the effect of increasing the acoustic level of the melody as well as the perception of the sound.

L'invention concerne aussi un procédé de réalisation d'un clavier musical optimisé pour un mécanisme de sonnerie d'une pièce d'horlogerie, qui comprend les caractéristiques de la revendication indépendante 9.The invention also relates to a method for producing a musical keyboard optimized for a striking mechanism of a timepiece, which comprises the features of independent claim 9.

Des étapes particulières du procédé de réalisation d'un clavier musical sont définies dans les revendications dépendantes 10 à 12.Particular steps of the method of producing a musical keyboard are defined in dependent claims 10 to 12.

Brève description des dessinsBrief description of the drawings

Les buts, avantages et caractéristiques du clavier musical pour un mécanisme de sonnerie d'une pièce d'horlogerie, et du procédé de réalisation du clavier musical apparaîtront mieux dans la description suivante notamment en regard des dessins sur lesquels :

  • les figures 1a et 1b déjà citées représentent une vue tridimensionnelle et une vue de dessus d'une forme d'exécution d'un clavier musical d'un mécanisme de sonnerie de l'art antérieur,
  • les figures 2a et 2b représentent une vue tridimensionnelle et une vue de dessus d'une forme d'exécution d'un clavier musical optimisé d'un mécanisme de sonnerie selon l'invention, et
  • les figures 3a et 3b représentent une comparaison entre un clavier musical classique générant des parasites sonores à chaque activation d'une lame et un clavier musical optimisé selon l'invention sans parasites sonores à chaque activation d'une lame.
The aims, advantages and characteristics of the musical keyboard for a striking mechanism of a timepiece, and of the method for producing the musical keyboard will appear better in the following description, in particular with regard to the drawings in which:
  • the figures 1a and 1b already mentioned represent a three-dimensional view and a top view of an embodiment of a musical keyboard of a ringing mechanism of the prior art,
  • the figures 2a and 2b represent a three-dimensional view and a top view of an embodiment of an optimized musical keyboard of a ringing mechanism according to the invention, and
  • the figures 3a and 3b represent a comparison between a conventional musical keyboard generating sound interference each time a blade is activated and a musical keyboard optimized according to the invention without sound interference each time a blade is activated.

Description détaillée de l'inventionDetailed description of the invention

Dans la description suivante, tous les éléments d'un mécanisme de sonnerie d'une pièce d'horlogerie, qui est muni d'au moins un clavier musical, et qui sont bien connus dans ce domaine technique, ne seront décrits que sommairement.In the following description, all the elements of a striking mechanism of a timepiece, which is provided with at least one musical keyboard, and which are well known in this technical field, will only be briefly described.

Les figures 2a et 2b représentent une forme d'exécution d'un clavier musical 1 pour un module musical d'un mécanisme de sonnerie. Le clavier 1 comprend un ensemble de lames 3, qui sont rectilignes. Ces lames 3 sont disposées parallèles l'une par rapport à l'autre dans un même plan. L'espace entre chaque lame 3 peut être identique. Une extrémité de chaque lame est fixée à un même talon 2. Le talon 2 comprend des trous 5 pour le passage de vis non représentées afin de fixer le talon 2 par exemple sur un pont relié à une platine ou directement sur une platine ou une carrure dans le boîtier d'une pièce d'horlogerie, telle qu'une montre musicale. De préférence, les lames 3 viennent de matière avec le talon 2 pour former une seule pièce d'un même matériau, c'est-à-dire un clavier musical 1 monobloc. Le matériau peut être par exemple un matériau métallique, tel que de l'acier ou du cuivre, ou un métal précieux comme l'or ou le platine, ou également un matériau de structure amorphe, tel que du verre métallique.The figures 2a and 2b represent an embodiment of a musical keyboard 1 for a musical module of a ringing mechanism. The keyboard 1 comprises a set of blades 3, which are straight. These blades 3 are arranged parallel to each other in the same plane. The space between each blade 3 can be identical. One end of each blade is fixed to the same heel 2. The heel 2 comprises holes 5 for the passage of screws not shown in order to fix the heel 2 for example on a bridge connected to a plate or directly on a plate or a middle in the case of a timepiece, such as a musical watch. Preferably, the blades 3 are made in one piece with the heel 2 to form a single piece of the same material, that is to say a one-piece musical keyboard 1. The material may for example be a metallic material, such as steel or copper, or a precious metal such as gold or platinum, or also an amorphous structural material, such as metallic glass.

Pour l'activation des lames 3 du clavier musical 1, il peut être prévu un élément 4 sous forme de came, qui définit une rampe, à une extrémité libre de chaque lame 3. La rampe de la came 4 définit de préférence une pente d'angle aigu par rapport à l'extrémité libre de la lame 3. Un organe d'activation, tel qu'une goupille, peut venir en contact de la rampe de la came 4 de manière à soulever ou fléchir la lame correspondante 3. Chaque goupille d'activation de la lame correspondante 3 peut se trouver par exemple sur un cylindre ou un disque du mécanisme de sonnerie. Généralement, l'activation de chaque lame par l'intermédiaire de la came 4 est effectuée par le déplacement d'une goupille respective dans un plan parallèle aux lames 3 et dans la direction de l'extrémité libre de la lame 3 à activer. Une fois que l'organe d'activation, c'est-à-dire la goupille, est déplacé au-delà de ladite came 4, la lame 3 est relâchée pour la mettre en vibration et lui permettre d'émettre une note spécifique définie notamment par sa longueur depuis le talon 2.For the activation of the blades 3 of the musical keyboard 1, there can be provided an element 4 in the form of a cam, which defines a ramp, at a free end of each blade 3. The ramp of the cam 4 preferably defines a slope d acute angle with respect to the free end of the blade 3. An activation member, such as a pin, can come into contact with the ramp of the cam 4 so as to raise or flex the corresponding blade 3. Each activation pin of the corresponding blade 3 can be found for example on a cylinder or a disc of the striking mechanism. Generally, the activation of each blade via the cam 4 is carried out by the movement of a respective pin in a plane parallel to the blades 3 and in the direction of the free end of the blade 3 to be activated. Once the activation member, that is to say the pin, is moved beyond said cam 4, the blade 3 is released to set it in vibration and allow it to emit a specific note defined in particular by its length from the heel 2.

Une partie rectiligne de la lame, qui se situe derrière chaque élément 4 du côté de l'extrémité libre de chaque lame 3 est nécessaire pour l'accordage fréquentiel du clavier musical 1. Le clavier musical 1 est dimensionné de telle sorte à avoir des lames 3, dont les fréquences fondamentales restent inférieures aux fréquences souhaitées, qui constituent la mélodie ou la sonnerie. L'enlèvement de matière de cette extrémité permet d'augmenter la fréquence de chaque lame 3 et d'obtenir ainsi un accordage précis de chacune d'entre elles à 5 Hz près. Cette retouche en longueur de chaque lame 3 évite toute retouche en épaisseur de la lame 3, dans le cas où la fréquence de la lame 3 est supérieure à la fréquence cible. La retouche en épaisseur diminuerait la raideur de chaque lame 3. L'énergie emmagasinée lors de la flexion de la lame 3 serait plus faible, et le niveau acoustique le serait aussi.A rectilinear part of the blade, which is located behind each element 4 on the side of the free end of each blade 3 is necessary for the frequency tuning of the musical keyboard 1. The musical keyboard 1 is dimensioned in such a way as to have blades 3, whose fundamental frequencies remain lower than the desired frequencies, which constitute the melody or ringtone. The removal of material from this end makes it possible to increase the frequency of each blade 3 and thus to obtain precise tuning of each of them to within 5 Hz. This modification in length of each blade 3 avoids any modification in thickness of the blade 3, in the case where the frequency of the blade 3 is greater than the target frequency. Retouching the thickness would reduce the stiffness of each strip 3. The energy stored during the bending of the strip 3 would be lower, and so would the acoustic level.

Selon l'invention au niveau de la fixation des lames 3 au talon 2, c'est-à-dire à l'encastrement des lames 3 au talon 2, il est prévu des rainures 6 dans le talon 2 s'étendant dans le prolongement de chaque espace entre des lames voisines 3. De préférence, la largeur de chaque rainure 6 peut être identique à l'espace entre deux lames voisines 3. Chaque rainure 6 peut être réalisée rectiligne et selon la direction de l'espace correspondant entre deux lames voisines 3. La profondeur de chaque rainure 6 peut être identique à l'épaisseur de chaque lame 3, voire supérieure pour éviter tout transfert vibratoire d'une lame 3 à une autre lame voisine 3 lors de leur activation. L'épaisseur du talon 2 peut être choisie entre 2 à 10 fois supérieure à l'épaisseur de chaque lame 3. Les rainures 6 peuvent être réalisées aussi dans toute l'épaisseur du talon 2.According to the invention at the level of the fixing of the blades 3 to the heel 2, that is to say at the embedding of the blades 3 to the heel 2, there are grooves 6 in the heel 2 extending in the extension of each space between neighboring blades 3. Preferably, the width of each groove 6 can be identical to the space between two neighboring blades 3. Each groove 6 can be made rectilinear and in the direction of the corresponding space between two blades neighbors 3. The depth of each groove 6 can be identical to the thickness of each blade 3, or even greater to avoid any vibratory transfer from one blade 3 to another neighboring blade 3 during their activation. The thickness of the heel 2 can be chosen between 2 to 10 times greater than the thickness of each strip 3. The grooves 6 can also be made throughout the entire thickness of the heel 2.

Cette épaisseur du talon 2 est nécessaire pour considérer que les conditions aux limites de chaque lame 3 soient définies comme « encastrélibre ». Sans cette surépaisseur du talon 2, c'est-à-dire avec une épaisseur similaire à celle des lames 3 ou des rainures 6, cela conduit à diminuer la raideur de chaque lame 3. Ainsi l'ensemble constitué du talon 2 et des lames 3 jusqu'à l'extrémité de chaque rainure 6 subirait une déformation lors de l'activation de chaque lame 3. L'épaisseur du talon permet aussi d'avoir une surface d'appui avec la platine ou l'habillage de la pièce d'horlogerie tout en laissant les lames 3 vibrer librement. Sans ce talon 2, et du fait que l'encastrement de chaque lame 3 se situe à différents endroits en fonction des longueurs des lames 3 différentes, certaines lames 3 seraient en contact direct avec la platine ou carrure. Cela empêcherait la lame activée 3 de vibrer correctement et avec une augmentation de l'amortissement.This thickness of the heel 2 is necessary to consider that the boundary conditions of each blade 3 are defined as “embeddedfree”. Without this additional thickness of the heel 2, that is to say with a thickness similar to that of the blades 3 or of the grooves 6, this leads to a reduction in the stiffness of each blade 3. Thus the assembly consisting of the heel 2 and the blades 3 to the end of each groove 6 would undergo deformation during the activation of each blade 3. The thickness of the heel also makes it possible to have a support surface with the plate or the covering of the timepiece while allowing the blades 3 to vibrate freely. Without this heel 2, and because the embedding of each blade 3 is located at different places depending on the lengths of the different blades 3, some blades 3 would be in direct contact with the plate or caseband. This would prevent the activated blade 3 from vibrating properly and with increased damping.

Pour la réalisation du clavier musical 1, il peut être choisi une préforme comprenant déjà la forme d'un talon 2 prolongé depuis un côté perpendiculairement par une portion plane d'épaisseur inférieure où les lames doivent être réalisées. Une surface supérieure de la portion plane est dans un prolongement parallèle à une surface supérieure du talon 2.For the realization of the musical keyboard 1, it can be chosen a preform already comprising the shape of a heel 2 extended from one side perpendicularly by a flat portion of lower thickness where the blades must be made. An upper surface of the flat portion is in an extension parallel to an upper surface of the heel 2.

Les lames 3 du clavier musical 1 sont donc usinées une par une depuis leur extrémité libre à leur fixation au talon 2. Les espaces entre deux lames 3 voisines sont réalisés par un outil d'usinage, qui peut être par exemple une fraise ou une découpe au fil. Les rainures 6 dans le talon 2 peuvent être obtenues directement par l'outil d'usinage à la suite de chaque espace entre deux lames voisines, voire en fin d'usinage du clavier musical 1. L'épaisseur de chaque lame 3 et la came 4 de l'extrémité libre de chaque lame 3 est adaptée par une opération de fraisage, notamment au moyen d'une fraise à boule ou à cylindre.The blades 3 of the musical keyboard 1 are therefore machined one by one from their free end to their attachment to the heel 2. The spaces between two neighboring blades 3 are made by a machining tool, which can be for example a milling cutter or a cutout over. The grooves 6 in the heel 2 can be obtained directly by the machining tool following each space between two neighboring blades, or even at the end of the machining of the musical keyboard 1. The thickness of each blade 3 and the cam 4 of the free end of each blade 3 is adapted by a milling operation, in particular by means of a ball or cylinder cutter.

Selon l'invention, au niveau de la fixation de chaque lame 3 au talon 2 comme montré à la figure 2b, il est obtenu par ce type d'usinage une symétrie entre les points A1 et B1 par rapport au plan de flexion de la lame 3 lié au talon 2. Chaque ligne p1 reliant les points A1 et B1 est perpendiculaire à la direction de chaque lame 3. Ainsi, le premier mode de flexion est parfaitement activé lorsqu'une goupille vient fléchir la lame 3 lors de son passage. L'énergie transmise, au premier mode de flexion, est maximale. L'amplitude vibratoire est, elle aussi, maximale ce qui a pour effet d'augmenter le niveau acoustique de la mélodie ainsi que la perception du son.According to the invention, at the level of the attachment of each blade 3 to the heel 2 as shown in figure 2b , it is obtained by this type of machining a symmetry between the points A1 and B1 with respect to the bending plane of the blade 3 linked to the heel 2. Each line p1 connecting the points A1 and B1 is perpendicular to the direction of each blade 3. Thus, the first bending mode is fully activated when a pin flexes the blade 3 as it passes. The energy transmitted, in the first bending mode, is maximum. The vibratory amplitude is also maximum, which has the effect of increasing the acoustic level of the melody as well as the perception of the sound.

Il est encore à noter que concernant les rainures 6 dans le talon 2 du clavier musical 1, elles ont pour but de découpler les lames 3 entre elles et de limiter le transfert vibratoire d'une lame 3 à une autre lame voisine 3. En effet, lorsqu'une lame 3 est activée par exemple fléchie par une goupille, la flexion de la lame 3 génère une contrainte au niveau de l'encastrement de la lame 3 au talon 2. Ces rainures 6 évitent le couplage entre lames 3 du clavier musical 1 et limitent très localement les contraintes au niveau de l'encastrement de chaque lame activée 3. Les rainures 6 empêchent d'imposer, aux lames voisines, un déplacement normal. La mélodie générée par le clavier musical 1 dans cette configuration de la présente invention peut être considérée comme pure et sans parasites ou dissonances.It should also be noted that concerning the grooves 6 in the heel 2 of the musical keyboard 1, their purpose is to decouple the blades 3 from each other and to limit the vibration transfer from one blade 3 to another neighboring blade 3. Indeed , when a blade 3 is activated, for example bent by a pin, the bending of the blade 3 generates a stress at the level of the embedding of the blade 3 at the heel 2. These grooves 6 avoid the coupling between blades 3 of the musical keyboard 1 and very locally limit the stresses at the level of the embedding of each activated blade 3. The grooves 6 prevent imposing, on the neighboring blades, a normal movement. The melody generated by the musical keyboard 1 in this configuration of the present invention can be considered as pure and free from interference or dissonances.

A titre comparatif les figures 3a et 3b représentent une comparaison lors de l'activation par exemple de la lame 3 de sonorité la plus aiguë entre un clavier musical 1 classique à la figure 3a et un clavier musical 1 optimisé avec les rainures 6 selon l'invention à la figure 3b. Suite à une flexion de la lame 3 de sonorité la plus aiguë, qui est la lame 3 la plus petite, on remarque que la lame 3 activée après le passage de la goupille vibre. Il en est de même pour les lames 3 voisines de la lame 3 activée pour le clavier musical 1 classique, qui subissent elles aussi un déplacement en flexion, ce qui n'est pas le cas du clavier musical 1 optimisé avec les rainures 6. Une échelle de vibration est donnée entre Min et Max et représentée sur les trois lames 3 pour le clavier musical 1 classique et le clavier musical 1 optimisé sans génération de dissonances, car les deux lames 3 voisines de la lame 3 activée la plus aiguë ne vibrent normalement pas.For comparison the figures 3a and 3b represent a comparison during the activation for example of the blade 3 of the highest sound between a classical musical keyboard 1 at the picture 3a and a musical keyboard 1 optimized with the grooves 6 according to the invention at the figure 3b . Following a bending of the blade 3 of the sharpest sound, which is the smallest blade 3, we notice that the blade 3 activated after the passage of the pin vibrates. The same is true for the slats 3 adjacent to the slat 3 activated for the classic musical keyboard 1, which also undergo a displacement in bending, which is not the case for the musical keyboard 1 optimized with the grooves 6. vibration scale is given between Min and Max and represented on the three blades 3 for the classic musical keyboard 1 and the musical keyboard 1 optimized without generation of dissonances, because the two blades 3 neighboring the highest activated blade 3 do not vibrate normally not.

A partir de la description qui vient d'être faite, plusieurs variantes de réalisation du clavier musical pour un mécanisme de sonnerie d'une pièce d'horlogerie peuvent être conçues par l'homme du métier sans sortir du cadre de l'invention définie par les revendications. Chaque lame de forme rectiligne peut présenter une section transversale rectangulaire ou circulaire ou autre, qui peut être identique sur toute la longueur de la lame.From the description which has just been made, several variant embodiments of the musical keyboard for a striking mechanism of a timepiece can be designed by those skilled in the art without departing from the scope of the invention defined by the revendications. Each rectilinear blade may have a rectangular or circular or other cross-section, which may be identical over the entire length of the blade.

La section transversale peut également varier progressivement ou de manière discontinue le long de la longueur de chaque lame.The cross section can also vary gradually or discontinuously along the length of each blade.

Claims (12)

  1. Musical comb (1) for a striking mechanism of a timepiece (1), the musical comb comprising several tines (3) connected to a heel (2) for securing the comb inside the timepiece, the musical comb (1) including grooves (6) in the heel (2) each extending in the extension of each space between the adjacent tines (3), the tines (3) being rectilinear and arranged parallel to one another in a same plane from the heel (2),
    characterised in that each tine (3) is obtained by machining with a symmetry between points of connection (A1, B1) to the heel (2) relative to a bending plane of each tine (3) to be actuated.
  2. Musical comb (1) according to claim 1, characterised in that the tines (3) are integral with the heel (2) to form a single one-piece part made of the same material.
  3. Musical comb (1) according to claim 1, characterised in that the tines (3) are all or partly of different length from the heel to a free end so that each generates a specific note when actuated.
  4. Musical comb (1) according to claim 1, characterised in that each tine (3) includes, in proximity to a free end, a cam element (4), which forms a ramp to allow an actuation member of the striking mechanism to actuate said tine during passage of the ramp.
  5. Musical comb (1) according to claim 4, characterised in that a rectilinear part of each tine (3), which lies behind each element (4) on the free end side of each tine (3), allows frequency tuning of the musical comb (1) to be achieved by reducing the tine length.
  6. Musical comb (1) according to claim 1, characterised in that the depth of each groove (6) in the heel (2) is identical to or greater than the thickness of each tine (3).
  7. Musical comb (1) according to claim 1, characterised in that the grooves (6) in the heel (2) are also made throughout the entire thickness of the heel (2).
  8. Musical comb (1) according to claim 1, characterised in that the thickness of the heel (2) is between 2 and 10 times greater than the thickness of each tine (3).
  9. Method for manufacturing a musical comb (1) for a timepiece striking mechanism, the method comprising the steps of:
    - providing an initial preform having the shape of a heel (2) extended perpendicularly from one side by a flat portion of smaller thickness than the thickness of the heel (2),
    - machining tines (3) in the flat portion with an identical space between each pair of adjacent tines (3) and a different or partly different length of each tine from the heel (2), and with a symmetry between points of connection (A1, B1) to the heel (2) relative to a bending plane of each tine (3) to be actuated, and
    - machining grooves (6) in the heel (2) each in the extension of the spaces between two adjacent tines (3).
  10. Method for manufacturing a musical comb (1) according to claim 9, characterised in that the tines (3) are machined individually from their free end to their point of attachment to the heel (2).
  11. Method for manufacturing a musical comb (1) according to claim 9, characterised in that the spaces between each pair of adjacent tines (3) are made by milling or by wire cutting.
  12. Method for manufacturing a musical comb (1) according to claim 9, characterised in that the machining of the tines (3) from the heel (2) to their free end is performed by milling by means of a round or cylindrical milling cutter in order to obtain a symmetry between the points of connection (A1, B1) to the heel (2) relative to a bending plane of each tine (3) to be actuated, and in that the thickness of the tines and each cam element (4) at the free end of each tine (3) is achieved by milling with a round or cylindrical cutter.
EP18162207.7A 2018-03-16 2018-03-16 Musical keyboard for a chiming mechanism of a timepiece Active EP3540527B1 (en)

Priority Applications (4)

Application Number Priority Date Filing Date Title
EP18162207.7A EP3540527B1 (en) 2018-03-16 2018-03-16 Musical keyboard for a chiming mechanism of a timepiece
JP2019037241A JP6857202B2 (en) 2018-03-16 2019-03-01 Music comb for clock striking mechanism
US16/291,000 US11513476B2 (en) 2018-03-16 2019-03-04 Musical comb for a timepiece striking mechanism
CN201910193911.3A CN110277078B (en) 2018-03-16 2019-03-14 Musical comb for time telling mechanism of clock

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EP18162207.7A EP3540527B1 (en) 2018-03-16 2018-03-16 Musical keyboard for a chiming mechanism of a timepiece

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EP3540527A1 EP3540527A1 (en) 2019-09-18
EP3540527B1 true EP3540527B1 (en) 2022-01-26

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EP (1) EP3540527B1 (en)
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EP2482275B1 (en) * 2011-01-28 2014-03-12 Montres Breguet SA Keyboard for musical box and musical box including said keyboard
CN201918150U (en) * 2011-01-28 2011-08-03 协樱精密工业股份有限公司 Multi-scale comb-shaped spring leaf for music bell
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CN110277078A (en) 2019-09-24
JP6857202B2 (en) 2021-04-14
US20190286060A1 (en) 2019-09-19
US11513476B2 (en) 2022-11-29
JP2019159320A (en) 2019-09-19
EP3540527A1 (en) 2019-09-18
CN110277078B (en) 2023-01-10

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