US1611208A - Violin mute - Google Patents

Description

Dec. 21 1926. 1,611,208

J. W. LESCH VIOLIN MUTE Filed July 13 1925 Wiese attorney Patented Dec. 21, 1926.

UNITED STATES PATENT orrics.

JOSEPH W. LESCH. OF CLINTON. IOi/VA.

VIOLIN Application filed July 13,

This invention relates to an improved mute for violins and other analogous musical instrun'ients, employing strings trained over a vibratory bridge.

The construction of the improved device is such that the mute may be moved into and maintained in contact with one side of the b idge to continuously mute the tone, or, to alternately mute and restore the tone at d en 'ntervals, whereby to produce an unu. .21 effect, commonly referred to in the profession as a wow-wow effect.

The particular construction for accomplishing this end, together with the alleged novelty, will be clear by carefully considering the following detailed description and annexed claims.

In the accompanying drawing forming a part of this application and in which like numerals are employed to designate like parts throughout the same:

Figure 1 is a top plan view of a portion of a conventional form of violin showing the improved mute as employed thereon.

Fig. 2 is an enlarged detail view of a mounting.

Fig. Sis side view showing the approximate relation of the mute and the bridge, and

Fig. 4': is a perspective view of a part hereinafter referred to as a mounting.

teferring to the drawings in'detail, the reference character 1 designates the body of the violin, 2 designates the bridge, and 8 the usual linger board above which the strings 1 are disposed. The strings, of course, pass over the bridge in the usual way and the device may be adjusted to dispose it in a position that it will not affect the tone in any way.

The mute proper is designated by the reference character 5 and it will be noted that the same comprises block of wood or other material which is disposed normally in spaced parallelism to the bridge as shown in Fig. 3. If desired, the top edge may be rounded somewhat. Extending forwardly from the bottom is a socket 6 carrying a set screw 7 fora purpose to be hereinafter described.

At this time I might state that the socket together with the block may rest slidably on the top of the belly of the body. It may be desirable, in some instances, however, to provide a clearance between the mute and belly MUTE.

1925. Serial no. 43.256.

and this can be accomplished in an obvious manner by the structure to be hereinafter described.

A push rod 8 has its inner end telescopically received in the socket 6 and held adjustably in place by set screw 7. This rod extends outwardly over the body of the instrument and is provided at its extreme forward end with connecting means 9 serving a purpose to be hereinafter described.

Referring now to Figs. 2 and 4:, it will be seen that the r ference character 10 designates a mounting comprising a block 11 resting upon the body of the instrument adjacent the neck, this block carrying an inwardly extending plate 12 to the reduced free end of which a link 18 is pivotally connected. This link is in turn connected to the aforesaid fork 9. A second diagonal link 14 is connected to the intermediate part of the first named link 13. Link H is then connected to the free end of an operating arm 15 forming a part of a bell crank 16. This bell crank comprises an elongated thumb operated bar 17 extending in spaced parallelism alongside of the neck and finger board. It should be noted from Fig. l that one'end of the block 11 of the mounting is bifurcated and that the bell crank 16 is pivotally mount-ed between the furcations. This permits the linkage to be disposed in the space existing between the top of the body and the under side of the finger board.

A turn buckle or equivalent device 18 is employed to hold the mounting 10 in place and this turn buckle is provided at its bottom with a padded clamp or jaw 19 enthe bottom of the body. It is yet to be pointed out that a flat longitudinally bowed spring 20 is carried by the free end of the thumb lever 17 and this spring bears against the adjacent edge of the finger board. Moreover, a small block 21 is located between the inner end of the finger board and the belly of the body and this is provided with a guide opening through which the push rod 8 is slidable. This insures that the mute will move into proper contact to acquire the desired uniformity in action.

By pressing the thumb lever toward the finger board, a longitudinal movement will be imparted to the push rod 8, and the mute will. he slid into contact with the front face of the bridge. The idea is that the thumb lever being considerably long, it always is within. convenient reach of the thumb of the left hand while playing. At the players discretion, he may literally squeeze this thumb lever and in so doing move the mute into operative relation with the bridge, thus giving any desired tone. lVith this arrange ment a group of different tones may be muted or the different tones may be preferably muted and restored to their natural conditions.

Obviously, this will give an unusual jazz effect by alternating the tone in this man ner. In fact, it will simulate to a very great degree, the wow-wow effect produced by the trumpet, horns, and the like. The distinction between the open and muted tone will be clear indeed.

Should it be desired to bring the mute into play while playing a complete composition, this may be done by sliding the mute into contact with one side of the bridge by loosening the set screw and then tightening it and holding it in association. Of course, when the mute is in this nosition, the operating means need not be actuated. The effect will be that of the ordinary mute, although, owing to the rigidity of the structure, the muted tone itself will be of a characteristic nature.

As previously intimated, the invention is not to be restrictivelyused on a violin, for it may be easily well used on string instruments of the same family, and on analogous string instruments where a mute is effective on a stringed bridge.

No doubt, a consideration of the description, in connection with the drawings will enable persons familiar with this particular class to obtain a clear understanding of the invention. Therefore, a more lengthy de scription is thought unnecessary.

Although the preferred embodiment of the invention has been specifically described and shown, it is to be understood that minor changes coming within the field of invention claimed may be resorted to if desired.

Having thus described my invention, what I claim as new is 1. In a structure of the class described, a mounting, a bell crank pivotally connected with said mounting, said bell crank embodying an elongated finger piece a return spring, a mute, a push rod connected to said mute, a link pivotally connected to said push rod and to said mounting, and a second link connected to the operating arm of said bell crank and the intermediate portion of said first named link.

An attachment for a conventional violin comprising a mounting adapted to be connected with the body of the violin at a point adjacent the inner end of the neck of the violin, a mute adapted for disposition in spaced parallelism to the usual bridge, a push rod adjustably connected at its inner end with said mute, an operating means for said push rod comprising a bell crank pivotally mounted upon said mounting, operating connections between one arm of the crank and said push rod, the other arm of said bell crank being ofelongated form and being adapted to extend alon side of the aforesaid neck for operation by the thumb of the player, and spring means associated with said last named arm.

In testimony whereof I afiix my signature.

JOSEPH -W. LESCH.

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