JP2022107569A - Violin or the like - Google Patents

Abstract

To improve very low utilization efficiency of a raw wood due to cutting out a front plate and a rear plate from the raw wood, and provide a method of manufacturing a violin or the like excellent in volume and tone.SOLUTION: Woods are efficiently formed into a front plate and a rear plate by cutting raw woods used for the front plate and the rear plate of a violin or the like, to obtain a plurality of trapezoidal columns 3-8 along the veins, cutting out them in a slice shape along the curve of the violin or the like, respectively, to obtain a plurality of arc shape materials 9-14, and combining, gluing together and processing them. A bass bar, a soprano bar and a joint bar which are vertically curved outward in an arc shape with a size of 5 mm or less are attached to the front plate. The soprano bar is formed wide in a width at a sound post attachment position, the portion is shaved smoothly, and a sound post is attached between the portion and the rear plate.EFFECT: A violin or the like which contributes to preservation of environment by efficient use of woods, is excellent in volume and tone, and is good in sound production is obtained.SELECTED DRAWING: Figure 2

Description

To provide a violin manufactured by making effective use of the wood used for the top plate and the back plate at the time of manufacture and having good sound volume, tone color and pronunciation.

Non-Patent Literature 1. As shown in Shoichiro Kawakami's "Making Violins", violins are made of thick raw wood (spruce or maple logs) with spruce tops and maple backs. A pair of left and right plates that are cut, dried, and made to the required size (referred to as raw wood in this patent) are each split in half, glued at the center, and shaved to form a curved front plate of the desired shape, Cut and manufacture the back plate. A thick board is shaved, the back of the center is hollowed out, and the thickness of each part is adjusted to finish.

There have been attempts to make effective use of the front and back plates, but there are also instruments made by using high-pressure steam to pressurize a flat plate into a curved shape and use it as the front and back plates. However, it is used for beginners or for practice, and is not valued highly as an instrument used by experts. Pressurization may cause unevenness in the density of the wood, distortion, etc., and it will affect the sound. In Patent Document 2, the top plate and the back plate are flat and there is no waste of wood, but it is a cheap one for practice and not for experts.

Non-Patent Literature 1. As shown in Fig. 4, the top plate of a conventional violin is shaved from 2.5 mm in thickness at the thinnest part to 3.5 mm in the central part at the thickest part. A straight brace 18 is attached. The top plate transmits vibrations from the bridge to the entire instrument and amplifies the sound through resonance with the back plate. It also helps with strength. The brace is placed slightly on the low-pitched side from the center, and the sound post is installed on the high-pitched side. This system has been considered optimal. However, there is also a demand for a louder instrument that can withstand performances in large halls.
As an attempt to meet the demands of loud musical instruments, Patent Document 3 proposes installing a sound post shaped to improve the contact part, but the basics of transmitting vibration to the top plate, braces, and back plate. is the same as Non-Patent Document 1.

The back plate is also carved from thick raw wood in the same way as the front plate, so a pair of halved plates are glued together at the center, and a plate with a thickness of about 30 mm with a vertical length and width is cut into the required shape and thickness. The back plate is cut out, but the thickness of the center is 4.5 mm, which is less than one-sixth, so the efficiency of wood is low.

Japanese Patent No. 2566703 of Patent Document 1 of Reference Document shows a proposal to provide a G-string side stiffener and an E-string side stiffener in parallel to the strings, and thus in a vertical direction substantially along the wood grain, in order to improve the sound volume. The top plate with two parallel stiffeners matches the grain direction and is vulnerable to cracking. Also, the sound post is said to be in contact with the E string side stiffener, but it seems that it is difficult to obtain good results. There is improvement in the treble, but the bass cannot be said to be satisfactory. It doesn't touch on the inefficiency of wood.

Patent 2566703 JP 2018-205675 Patent 3307674

"Making a Violin" by Shoichiro Kawakami Kinokuniya Bookstore

The manufacturing method for violins was established about 300 years ago, and there have been no major changes since then. Now that performances are being held in large-scale halls, there is a tendency to demand greater volume. On the other hand, from the point of view of environmental protection, it has become necessary to avoid excessive logging, and the supply of materials is deteriorating, and the situation is expected to become even more serious in the future. In other words, from now on, materials are precious, and it is necessary to manufacture better musical instruments with less materials.

The shape of a violin is complicated and three-dimensional, and it is difficult to efficiently obtain two or more tops or backs from the raw wood for one violin. A number of vertically long rectangular timbers (hereafter called trapezoidal pillars) are cut from each trapezoidal pillar, and several bow-shaped thin plates (hereafter called arc-shaped timbers) are cut out from each trapezoidal pillar and glued together. It seems that it will be possible if you make a curvilinear solid. This is because the same shape can be efficiently cut from a thick tree. It should be noted here that it is important not to use any kind of wood as long as the shape matches, but to match the raw wood. As a result, the wood grain, specific gravity, etc., maintains almost the same quality as if it were carved out.

Specifically, without splitting the raw wood into two pieces, it is cut vertically along the wood grain into several trapezoidal columns. First, as an example of the top board, in the case of a violin, as shown in [Fig. Cut into trapezoidal pillars, and cut out a plurality of arcs of the same shape as required from each of the trapezoidal pillars (A3, B4, C5, D6, E7, F8). These arc-shaped members (a9, b10, c11, d12, e13, f14) are combined one by one to form a plurality of sets. By gluing each set together, a plurality of sets of three-dimensional shapes including curved lines can be obtained.

Violins are three-dimensionally symmetrical, and you need a pair of arcs on the left and right sides. .

The arc-shaped material has a smooth adhesive surface and is bonded with an adhesive to form a rough-cut top plate, which is then processed into a top plate. Use a two-component epoxy resin adhesive. Since the front and back plates do not need to be dismantled by removing the adhesive later, a thermosetting type may be used. The curing time is close to that of glue, so it can be used conveniently. If you add a little bit of yellow or brown to the white of the oil paint and mix a little bit of the same color paint with the raw wood, the glued part will not be noticeable.

The raw maple wood for the back panel is processed in the same way as the front panel to make the back panel.

In order to solve the problem, it is necessary not only to increase the effective use rate of raw wood, but also to have sufficient performance as a musical instrument. Performance is improved by improving the back side of the top plate as follows.
(1) A bass bass bar (hereinafter simply referred to as a bus bar) with a width of 3 mm to 5 mm, preferably around 4 mm, is attached to the bass side and a treble soprano bar (hereinafter simply referred to as a soprano bar) is attached to the treble side. Let (2) Install a connecting bar (hereafter referred to as a connecting bar) that connects the bus bar, soprano bar, and top plate. These three bars (hereinafter trio bars) are fixed to each other and to the top plate to support each other. Because it is curved and has crossings with the wood grain of the top plate, the top plate is hard to break, and each bar does not fall down easily. The width of the bracing in Non-Patent Document 1 is 5.5 mm, but the width may be narrower in the case of the triover. Sufficient strength can be obtained by integrating the front plate. Since the strength of the front plate can be increased, the thickness of the front plate can be made slightly thinner. The plate thickness of the central portion may be thinner than the thickness shown in Non-Patent Document 1, and may be 3.3 mm or less. For example, it can be made thinner, about 3 mm.

"Table 1" shows the analysis related to the pronunciation of the central part of the front plate. Although the trio bar is strong, the plate between the two f-shaped holes is thin and the volume is small.

本発明の体積計算は実施例１に基づく；巾ｘ長さｘ厚み、力木／トリオバーは長さｘ巾ｘ平均高さ。強度は表板を裏側に間隔７５ｍｍの２つの支えの間に置き、表側より荷重をかけて割れの有無を見た。特許文献１によるバイオリンはより低い荷重で割れを見た。

Volume calculations for this invention are based on Example 1; width x length x thickness, bracing/triover length x width x average height. The strength was determined by placing the front plate between two supports with an interval of 75 mm on the back side, applying a load from the front side, and checking for cracks. Violins according to US Pat.

The length of the bus bar of the present invention is slightly shorter than that of the bracing in Non-Patent Document 1, 190 mm to 230 mm, and the length of the soprano bar is preferably 170 mm to 210 mm. , extending and curving in the vertical direction, preferably passing through the middle between the center line of the violin and the upper and lower ends of the f-shaped hole, and the connecting bar is adhered to the bass bar, soprano bar and top plate, and vertically from the position of the bridge It is good to install in the range of 15mm. Good sound can often be obtained slightly away from directly below the bridge. Moreover, if the height is 3 mm or more, it functions sufficiently. Trio bars may typically use vertically dense spruce, but soprano bars in particular may use harder woods, such as maple. You can change the sound quality of high-pitched sounds.

The width of the soprano bar at the part where the sound post is installed should be widened from 5mm to 8mm, but it is better to widen it towards the center. Make sure that the back plate of the sound post is not too far from the center line. It is possible to use a wide material from the beginning, or install a soprano bar on the top board and finally glue a part of a flat tree. Smooth the surface of the soprano bar to prevent the sound post from collapsing. This makes the job of setting up the sound post easier.

The trio bar functions effectively even for violins that do not make effective use of wood as in Non-Patent Document 1. It can also be attached to those made according to Non-Patent Document 1.

Non-Patent Document 1 may be followed except for the steps of the front plate and the back plate.

The sound post is an important part that transmits vibrations from the bridge to the back plate. A method of installing between the front and back plates near the trio bar, a method of attaching a 2 mm thick, 5 mm wide plate on top of the trio bar and installing it between the back plate, scraping the soprano bar slightly and flattening it directly to the back plate Directly on the soprano bar and between the back plate was the best. The soprano bar may be partially cut slightly deeper at the part where the sound post is installed, and the sound post may be erected. In the case of the violin, the volume of the E string is improved.

Attaching accessories (fittings) and strings to the completed violin and testing it after sufficient stabilization time, excellent volume and sound quality were obtained. In addition to the strong vibration of the G line, it was also found to be excellent in volume of high notes and ease of pronunciation.

Efficient use of timber reduces the felling of valuable large trees. It is possible to provide a wide range of musical instruments with excellent acoustics while preventing environmental deterioration.

Raw wood and cutting position in Example 1 How to take an arc from a trapezoidal column Combination drawing of arc-shaped material The back side of the front plate of Non-Patent Document 1 The back side of the top plate of the present invention and the triover

1 Raw wood 2 Cutting point 3 Trapezoidal pillar A 4 Trapezoidal pillar B 5 Trapezoidal pillar C 6 Trapezoidal pillar D
7 Trapezoidal column E 8 Trapezoidal column F 9 Arc-shaped material a 10 Arc-shaped material b
11 arc c 12 arc d 13 arc e 14 arc f
15 Combination of arcs 16 Position of arc e 17 Position of arc f 18 Bracing 19 Sound post installation position 20 Bus bar 21 Soprano bar 22 Sound post installation part 23 Connecting bar

Processing of the front plate-Left arc material: Italian spruce, Ciresa spruce, violin, top, 1st/quality, length 380 mm, width 120 mm, thickness 55 mm/30 mm. cut, five trapezoidal columns A3,
B4, C5, D6, E7 and a trapezoidal column F8 with a width of slightly less than 20 mm are obtained. Trapezoidal pillars A, B, C, and D are formed by cutting out six arc-shaped members along the cut lines shown in FIG. Six pieces of material c11 and six pieces of arc-shaped material d12 were obtained. At this time, the trapezoidal column A is cut along one side with the cut line A and the other side with the cut line B, and is cut along these two lines to obtain an arch of correct shape. Similarly, cut lines B and C are drawn on the trapezoidal column B, and cut lines C and D are drawn on the trapezoidal column C. I used a jigsaw because some of the cuts were diagonal.
Right arc: 24 right arcs symmetrical to the left were obtained by placing almost the same spruce upside down and treating in exactly the same way.
A pair of arc-shaped materials on the left side and the right side were combined and correctly adhered with a two-liquid type epoxy resin adhesive while holding the top and bottom with a mold. The adhesive was lightly colored with Sekaidou white and brown oil paints.
The left and right EFs were processed in the same manner as ABCD to obtain arcs respectively, but it is sufficient to use only a portion of the length. Both were glued with the same adhesive. The obtained rough surface board is used after lightly shaping and shaving, followed by finish shaving. In finishing cutting, the thickness of the central portion was 3.3 mm, and the thickness of the thinnest plate was 2.3 mm.
A 4 mm thick spruce sheet was bent with steam to attach the trio bar to the top plate. The bus bar was 205 mm long, the soprano bar was 180 mm, and glue was used to adhere to the top plate. The height of the busbar was 11 mm, the height of the soprano bar was 8 mm, the connecting bar was 5 mm, the sound post contact part of the soprano bar was 5 mm in height, and both the bus bar and the soprano bar were 3 mm in height. Finally, an f-shaped hole was made and used as a front plate.
The manufacturing procedure of the back plate is almost the same as that of the front plate except for the triover. A back plate was prepared using Slovakian maple Maple, violin, back, and best/quality from Tonewood. In order to match the heathered grain of the maple board, the bonding position is aligned, and the adhesive is matched to the wood color. Sekaido Extra-Fine-Artists oil paints, zinc white/cadmium yellow/sepia were mixed and used in very small amounts for coloring.
According to Non-Patent Document 1, a violin was manufactured using the above back plate and top plate by the internal molding method, varnished, a sound post was erected, and fittings Guardelli/violin-set were installed to complete the violin.
Violins manufactured by such a method were made playable using bridges, Auber/Deluxe, France, and strings of Bilastro, Obbligato. Three months after the instrument, including the varnish, had stabilized, it was tested and found to be satisfactory as an instrument in terms of pronunciation, volume, playability, etc. (see Table 2).

Claims (2)

Violins with a top plate, a back plate, a body that connects them, a neck for four strings, a fingerboard, a bridge, and other accessories. 1/5 to 1/10 of the width of the constricted part of the body of the instrument. cutting into timbers (hereinafter referred to as trapezoidal columns), and then cutting them into curved plate materials (hereinafter referred to as arc-shaped timbers) corresponding to the completed musical instrument, efficiently cutting out a plurality of pieces, Furthermore, the corresponding arc-shaped materials are combined so as to approximate the shape of the completed instrument, and then glued together to form a rough front plate and a rough back plate. A bass bass bar and a treble soprano bar with a bow shape that curves outward at the top and bottom and has a width of 5 mm or less are installed, and a connecting bar that joins these to the top plate is attached to form the top plate. Violins in which the sound post installation part of the high-pitched soprano bar is made wide for installation, and the sound post is installed between the high-pitched soprano bar and the back plate by shaving it parallel to the top plate to make it smooth. A low-pitched bass bar and a high-pitched soprano bar with a width of 5 mm or less are installed on the back side of the top plate, curved outward at the top and bottom. A violin with a wide sound post installation part of the high-pitched soprano bar, smoothed by shaving parallel to the top plate, and finally installing the sound post between the high-pitched soprano bar and the back plate.

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