JPH0225512B2 - - Google Patents

Description

[Detailed Description of the Invention] (a) Purpose of the Invention In order to extend the bass range of a piano in which wires fixed at one end are arranged in order of length, conventionally, metal spiral wires were replaced with round steel wires.
Alternatively, a method of joining the sheet steel wire 1' by moving it near the tip, near the center, or from near the center to near the impact point has been considered, but in either case, only one helical wire is joined to one sounding body. , when the bass line becomes larger, the position of the vibration node 6 of the desired first upper note (the scale note of a piano scale note) moves, and the node 6 is cut down or a coil spring 11 is attached. , it becomes difficult to make the scale tones clear, and if the finely cut or coiled spring 11 is installed in the wrong position, the balance between the left and right vibrations of the node 6 will be disrupted, and miscellaneous upper tones, partial tones, fundamental tones, etc. will be mixed up. This makes the desired first upper note unclear, and if only one parallel wire becomes large, it becomes difficult to store it in a case, and there is also reverberation after keystrokes or during transportation.
There were also inconveniences such as the noise remaining for hours. In this invention, the position of the node 6 for cutting, coil spring attachment, etc. is set in advance, and one spiral wire is connected to the left and right sides of the node 6, so that the point 6 becomes the vibration node. Then, adjust the weight and vibration condition of both wires, and
Or, as the length of 1' increases, by regularly increasing or changing them, the first upper note of the bass scale can be heard clearly, and a large number of bass scale notes with correct temperament and good tone can be created. Make it easy to do.

(B) Structure of the Invention In each of Figures 1, 2, 3, 4a, and 4b, one end of a round steel wire 1 serving as a sounding body is clamped and fixed to a base metal 3, and the fixed end 2
To make it easier to emit the natural vibration of line 1, the first upper tone (Figure 7), which vibrates as a node at point 6, which divides line 1 into a ratio of approximately 0.22 and 0.78, is tuned as a scale note. In the range where the sound is to be played, strike the hammer head (the striking part 4) at the same time with the striking part 4 (which is a point in Figure 1, but becomes a longer part as shown in the figure as the tone becomes lower) near the fixed end. When struck with a material (having a surface of length and width, hard for high pitched sounds and soft for low pitched pitch), as shown in Fig. 2, the first vibration is almost clear without being finely divided into nodes 6 of vibration, as in conventional tabletop pianos. In the range shown in Figure 3 where the length of line 1 is increased, the upper tone is heard, but the second upper tone (Figure 8, the first upper tone) is heard, where the vibration node is near the center 7 of line 1. At a high pitch that is approximately 2.8 times the vibration frequency of the first supertone, an unnecessary supertone that does not harmonize with the first supertone and obscures the scale note is heard, so first, a shallow cut is made at node 6 of the first supertone. This makes the first upper tone easier to vibrate, and also reduces the vibration node 7 of the second upper tone (Figure 8).
A small first helical wire 8 made of a thin steel plate with good vibration is joined to the coil, and when the spiral part vibrates, the node 7 also vibrates, so the node 7 is not generated there, and therefore the second upper tone is not generated. This is the range where the first upper note with the 6th note becomes clearer.

Fig. 4a shows that the length of line 1 in Fig. 3 is gradually increased, and the degree of refinement of the first upper pitch clause 6 is deepened;
If the length of the first spiral wire 8 is increased, then the thickness and width of the wire are slightly increased, and the weight of the wire 8 is gradually increased,
The vibration of the first supernote with its antinode at 7 becomes stronger and its amplitude increases, creating a force that moves the node 6 of the first supernote toward 6' near the tip, and the first supertone becomes stronger. Since the left and right sides of the node 6 cannot vibrate stably in a well-balanced manner, and the scale tone becomes unclear, a small second helical wire 9 is also connected to the tip of the wire 1 to increase the amplitude of that part. , to prevent the force that moves the node 6 to 6', and to make the first upper note with node 6 clear without moving the position of the finely cut node 6, the first spiral 8 This is a sound range section that adjusts the weight depending on the thickness, width, and length of the wire rod and the second spiral wire 9, and the number and size of spirals depending on the length of the wire rod. If the vibration force of both wires 8 and 9 is too large, no node will be generated at part 6, and unnecessary vibration of the fundamental tone (Fig. 9, very low bass and dissonance with the first upper tone) will occur. Therefore, each part of the wire material of the first spiral wire 8 should not be made larger than necessary, and each part of the wire rod of the first spiral wire 8 should be adjusted to the extent that the second upper tone is prevented. The sound range is expanded while adjusting the strength of the vibration and the strength of the vibration mainly due to the weight of the second spiral wire 9. Therefore, the second parallel wire 9 at the tip of wire 1
is always at the antinode of the vibration when the first overtone is generated and when the second overtone is generated due to the vibration to the striking part 4,
Moreover, the part of stanza 6 does not stop completely even when the first overtone occurs,
Since the distance from the fixed end 2 is long, even if the helical wire is small and lightweight, the vibration energy in that part becomes large. , 8, it is as small as 0.5, and node 7 is almost stopped when the second overtone occurs, so the energy to cause vibration in this part and make it the antinode of the first overtone vibration is as small as 0.5. It is necessary to make the vibration energy much larger than the vibration energy of the parallel wires 9. So, in the range from Figure 3 to Figure 4a, the first parallel line 8
In this case, the thickness and width of the wire are reduced and the length is increased to make it more likely to vibrate, and in Fig. 4a, where the chive wire part vibrates well above a certain point, the thickness and width of the wire are gradually increased.
Also, the length increases, whereas the second helical wire 9 is a less thin helix wire of the wire material and limits the length, and the thickness and
Increase the width to prevent the vibration of the fringe wire from becoming larger than necessary.

However, in FIG. 4b, where the wire 1 gradually becomes longer, the second overtone gradually becomes stronger, so in order to cause strong vibration at the node 7, the thickness and width of the wire of the first helical wire 8, The weight due to length is gradually increased, and at the same time the length of the second helical wire 9 is also increased, and then the thickness,
As the weight due to the width and length gradually increases, and the vibration of each part of the wire increases, as shown in FIG.
vibrates greatly, and the vibration node 1 in front of the second upper tone
9 to the right in the direction 17, and as the vibration of the first spiral 8 increases, a force is generated to move the position of node 7 in Fig. 8 from 20 to the left to 17. The thickness of the wire rods of both wires 8 and 9 is such that the force that moves the vibration nodes 19 and 7 from the left and right is balanced by T degrees and becomes the node 6 in FIG. 7 at 17 in FIG. The first upper Make the sound clear and vibrate stably.

Figures 5 and 6 show that when further expanding the bass range, a plate steel wire 1' is used, which gradually becomes thinner and wider at the same time, in order to make it easier to store in the piano case. In the sound range section whose length is shorter than that of the round steel wire 1, a flattened section 15 is provided near the striking section 4 of FIG. 4b in order to smooth the transition of tone from FIG. The length of the part 15 increases as the sound range approaches. In this range, when the thickness of the sheet steel wire 1' becomes thinner, the force of the coil spring 11 acts more strongly, and the degree of fineness applied to the knots 6 can be reduced.

In Fig. 6, in the pitch region of the steel plate wire 1', which has the thinnest thickness, a thin mild steel plate 10 is glued near the node 7 by adjusting the width and length, and the second upper pitch node is attached to that area. Make it difficult to occur. Also in Figures 5 and 6, the balance between the two lines 8 and 9 is maintained to make the first upper tone clear with node 6 as the node, as in the case of Figure 4b. Also, a coil spring 13 is attached to the side surface of the first helical wire 8 shown in FIGS. 5 and 6, which is large in size and weight, and is fixed at a point 14 on the side to prevent the vibration of the spiral portion that continues unnecessarily after the keystroke is completed. limit.

Furthermore, the fixed end 2 of the plate steel wire 1' shown in Figs. 5 and 6 is strongly pinched from above and below, and vibrations are transmitted from the base metal 3 to its fixed part and the outer case to produce a low pitch sound without having to be finely cut. easy. In each range where the parallel wires 8 and 9 are joined, the lengths of the wires 1 and 1' are shortened in anticipation of the deterioration of tone due to the weight of the parallel wires. The temperament can be lowered by attaching or scraping off a heavy object, or by extending the curved portion at the base of the helical wire 9 forward, or conversely, by increasing the degree of curvature, the temperament can be slightly raised. Furthermore, when the wire material of the first spiral wire 8 in FIGS. 5 and 6 is thick, the temperament is also lowered by the weight 16 for increasing the amplitude. Furthermore, the vibration of each part of the helical wires depends on the number and size of the spirals of both wires 8 and 9, the thickness of the helical wires, etc.
The strength of the vibration of the spiral portion as a whole is included in the first upper note of the scale, resulting in a timbre with a bass lingering characteristic of the spiral.

In the range shown in Figure 1, the thickness of line 1 is increased to increase the line length and volume, and nodes 6 and 7 are also finely cut to increase the subtle treble sensation of the highest note.

(c) Effect of the invention In FIG. 7, if the vibration at 7' (the joining position of the first helical wire 8) is too strong, the node 6 will be erased and the tip 18 will be
Even if the amplitude of (junction position of the second parallel wire 9) increases, the node 6 is erased, and together they produce the fundamental vibration (low tone with a frequency of 1/6.3 of the first upper tone) as shown in FIG. Since it is dissonant to the first upper note, it cannot be included in the timbre of the first upper note and arranged in the bass notes, and even as the lowest note, the transition between the temperament and timbre from the first upper note arrangement part is smooth. Since this cannot be done, it is not used as a scale note. (However, it may be included a little in the timbre to the extent that it does not obscure the first upper note.) Also, the fundamental vibration is too low to be arranged in the treble part. Therefore, if only one of the first helical wires 8 and the second helical wires 9 is used, it is not possible to widen the range to a wide range of bass sounds, and there is no need to use them for treble sounds as well. That is, it becomes necessary to use the first parallel wire 8 and the second parallel wire 9 while maintaining a balance between them in order to expand the bass range.

Also, in Figures 3, 4, 5, and 6, the second overtone that gradually becomes stronger is a high-pitched tone with a frequency 2.8 times that of the dissonance with the first overtone, and it erases the feeling of bass and makes the timbre poor, so it is a low-pitched tone. It cannot be used as a scale tone, and the timbre transition arrangement from the first upper tone arrangement section cannot be adjusted smoothly in the treble section, so it is not used as a scale tone. (However, in Figure 1, it is used to increase the sense of high pitch and volume.) Therefore, in the entire range, neither the fundamental vibration nor the second upper tone is used as a scale note.

If the first upper note is finely tuned to the node 6, it will be easier to produce the first upper tone and the tone will be clearer, and the coil spring 11 will weaken the second upper tone and stabilize the node 6. If the parallel wires 8 and 9 are joined without cutting into 6,
Since it is difficult to use a machine for fine cutting, the theoretical position of the knot 6 is set in advance and fine cutting is performed.
Attach the coil spring 11 in the required tone range, and regularly increase and adjust the weight, size, etc. of both wires 8 and 9 so that the position of the node 6 does not move, so that the first upper tone becomes clear. , Balancing the vibrational forces of both wires 8 and 9 is the most rational, reliable and easy way to expand the bass range by regularly arranging the temperament and timbre of many scale notes. , which is essential for implementation.

In Fig. 8, when the second helical wire 9 is connected only to the tip 18, and the vibration is small, a force is generated that moves the node 19 to the right 17, but when the vibration becomes stronger, the node 19 disappears. and the node 7 moves in the direction 20 to the left, but at that time, the force that connects the first helical line 8 to the node 7 and moves the nodes 7 and 20 to the left is transferred to the second helical line 9. By balancing the force with the force that moves node 19 to the right, node 6 in Figure 7 (17 in Figure 8)
Coupled with fine cutting or the use of a coil spring 11 in the position of The effect of using parallel wire 8 in combination can be understood.

[Brief explanation of drawings]

FIG. 1 to FIG. 6 are side views showing one sounding body in each part of the sound range transitioning from the highest note to the lowest note, together with a cross section of a fixed part. Figures 7, 8, and 9 are diagrams showing the large distance (0 to 1.0) of the nodes and antinodes of each vibration type from the fixed end. 1...Round steel wire, 1'...Plate steel wire, 6...First Upper note clause, 7...Second upper note clause, 8...First chira line, 9...Second chira line, 11...Coil spring (or rubber string, etc.), 19...Second upper part The clause before the sound.

Claims (1)

[Claims] 1 In a piano in which round steel wires 1 or plate steel wires 1' are arranged, one end of which is fixed to the base metal 3, the first spiral wire 8 is placed near the center of the wires 1, 1', and the tip of the same wire is As a second helical wire 9 is joined nearby and the length of the wires 1, 1' is increased, the thickness, width, length, number and size of spirals of the respective helical wires 8, 9 will increase. By increasing the weight and amplitude to maintain a balance between the left and right nodes of the first upper note, it is possible to expand the bass range while adjusting the temperament and timbre of the first upper note. Line piano scale note arrangement.