US1965475A - Musical instrument - Google Patents

Description

July 3, 1934. c. R. SMITH MUSICAL INSTRUMENT Filed April 24, 1935 6 Sheets-Sheet 1 wizard July 3, 1934. c R sMrr 1,965,475

MUSICAL INSTRUMENT Filed April 24. 1933 6 Sheets-Sheet 3 Tie/O.

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C. R. SMITH MUSICAL INSTRUMENT Filed April 24, 1935 TiGC/Z.

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6 Sheets-Sheet 4 y ,1934. c. R. SMITH 1,965,475

MUS I CAL INS TRUMENT Filed April 24, 1933 6 Sheets-Sheet 5 l F l I f \n J ME A? C If 1 3mm July 3, 1934. Q R SW H 1,965,475

MUS I CAL INSTRUMENT Patented July 3, 1934 UNITED STATES PATENT OFFICE 18 Claims.

This invention relates to improvements in musical instruments, relating more particularly to instruments having tonal characteristics of the accordion type but which, in appearance, present characteristics of other musical instruments, such,

for instance, as the reed organ, the present application being a continuation in part of the application filed by me January 11, 1932, Serial Number 586,016, now Patent No. 1,918,295, dated July 18. 1933.

The tonal characteristics of an accordion are produced by the concurrent vibrations of two or more reeds differing slightly as to the rate of vibration, with the result that the combined tone is made up of the true pitch tone and a tone or tones which vary slightly from it in pitch. In this respect, the accordion distinguishes from the reed organ which utilizes the single reed vibrating at the desired pitch. As a result, the reed sec- 20 tions of the two reed instruments differ through the fact that instead of having the operating key open the duct for a single reed, as in the reed organ, it is essential that the key open the duct or ducts leading to a plurality of reeds.

Another distinction between these types of reed instruments is found in the manner in which the air movements for reed vibration is obtained.

While the reed organ generally utilizes a treadle-operated bellows structure, such structure is generally not in direct communication with the reed section of the organ. Instead of a direct connection, the organ generally carries a chamber with which the reed section communicates and which is also adapted to communicate with the treadly operated bellows, the chamber thus providing the characteristics of a chamber the content of which is variable by the actions provided by both reed section and bellows. Generally, this chamber is of a pseudo-vacuum type (a pressure materially below atmospheric pressure). Hence, when a reed duct is opened by the key operation, air flows into the chamber through the duct, vibrating the reed during its passage. this varies the pressure in the chamber, the treadle-operated bellows is utilized to restore the desired lower pressure. When the organ operates on a pressure basis, the pressure in the chamber is above that of the atmosphere, so that opening of the duct permits air to escape from the chamher, through the duct, to vibrate the reed; in such type, the bellows is employed to maintain the higher pressure of the chamber. In either type, the content of the chamber is sufliciently varied from atmospheric pressure as to cause flow of air in the direction of lower pressure, the passing air vibrating the reed.

With the accordion, however, the action is changed. Being an instrument in which the movements of the bellows form part of the accepted visual characteristics of the instrument, the presence of a main air chamber independent of the bellows itself, is impracticable, the result being that the reed vibration must be produced directly from the bellows section, as a result of which accordion structures normally have the bellows structure in open communication with the reed section, this being one of the general characteristics of the accordion type. This, however, brings about an additional change in reed sections, as between the accordion and organ types, in that, to permit proper performance of the accordion, the reed vibration for a tone must take place regardless of whether the bellows may be in its expanding or its collapsing stroke; since these strokes move the air past the reed in opposite directions, it results in the necessity for the use of one set of reeds set to be vibrated by one stroke and a second set to be vibrated during the other stroke of the bellows. Hence in producing each tone of the accordion, the reed section is equipped generally with a plurality of reeds ar-- ranged in pairs, as compared with the single reed of the organ, one reed of each pair being vibrated by air from the bellows during expan-- sion of the latter, with the other reed of the pairs vibrated by external air drawn in by the collapsing movement of the bellows. Because of the open communication between the bellows and the reed section, the response is immediate when the change in stroke of the bellows is made, by shift of action from one pair of reeds to the other. The activity of a particular set of reeds is controlled by control of the air ducts leading: to or from the respective reeds, this being of a valve or damper operated by the key which controls the tone.

These fundamental characteristic distinctions between the two types of reed instruments must necessarily be bridged in attempting to provide a reed organ appearance to an accordion type instrument. The fundamental characteristics which give the accordion its particular tonal and operating characteristics must be maintained, but the operation must be obtained in a different manner. For instance, instead of operating the bellows by the movement of the arms, as in the accordion, this bellows movement must be ob tained otherwise, the feet being utilized in this respect when simulating the organ type. This condition brings in certain important conditions.

For instance, much of the artistic effect of accordion performance is due to the manipulation of the bellows. The latter is immediately responsive to changes in speed of stroke movement by varying the rate of air travel, and hence it is possible for the artist to control much of the execution of his selection by the bellows manipulationthe keys open the proper ducts, but the tonal characteristics produced will depend upon the bellows manipulation at the time. If the speed of the stroke is retained uniform at all times, the execution of the selection loses much of its charm, taking on some of the characteristics of the organ when the latter does not employ its expression devices. And if the feet are utilized as the source of bellows movement, making it possible for the artist to produce the effect by foot manipulation, it is essential that both strokes of the bellows be operated by the foot, due to the fact that ii but one stroke is so provided, the other stroke must be provided automatically, in which event the action of the latter is approximately uniform, or through a regular cycle, thus preventing the color effect possible in the other stroke; since it would not be possible to provide color on one stroke and not on the other in the execution of the selection, an arrangement of this kind would practically require performance with more or less mechanical expression, destroying the charm of performance such as is presented by the artist performer.

Accordions, as employed by artists, include a number of other features which are of importance. Generally, a portion of the reed section is controlled from a small key-board which simulates the usual key-board of an organ; other portions of the section, however, are controlled by stops, which may be arranged to control the reeds of chords, etc. When the accordion appearance is changed to that of the organ, the entire manipulation of ducts is from a manual keyboard, so that the chords, etc., are produced, in performance, by manipulating the keys of the key-board. Hence, the internal arrangement of the reed section of the accordion is varied somewhat in making the change.

Such change is increased when another characteristic of the accordion of artists is considered. Such accordions include the possibility of developing octaves to be sounded concurrently. This involves the addition of another set of reeds for each of the tones which are to be included within this possibility. The instrument must have provision to permit the octaves to be added at will, and hence the octave set must be retained inactive when the normal tone is active, excepting when the octave is desired. This feature forms one of the characteristics in the present invention, the arrangement being such that the lower octave of the gamut is separate from the remainder to permit of separate addition, separate controls being provided for the two series thus permitting individual or collective operation as desired.

The present invention therefore has for its general object the production of a musical instrument which, in external appearance, has many of the characteristics of the reed organ type, including the manual key-board and the foot-pedal operation, but which, in its tonal characteristics, presents characteristics of the accordion and especially of the type of the latter used by artists. In producing this result, the mechanical structure is designed to permit the expressive bellows action presented by such accordions, excepting as to visibility.

In connection with this general object, the present invention also presents another characteristic difference between the reed organ structures and the accordion, viz: the structural arrangement by which the instrument can be readily transported from place to place. Reed organ structures are primarily intended for use at a general location, its dimensions being such that after the organ has been placed in position at the desired point, it is seldom changed from such point, the performer going to the positioned instrument for the perform-- ance. On the contrary, the accordion is generally brought to the place of performance by the performer. Since the instrument of the present invention is purposed to retain this characteristic of the accordion, the structure is arranged more or less take-down in char-- acteristic, so as to permit of its ready transpor tation from point to point and ready assemblage for service. And this constitutes one of the subordinate objects of the invention.

While these general objects reach more particularly to bridging the normal gap between the two general types of reed instruments, the invention has additional objects bearing 'more particularly in increasing tonal characteristics, the flexibility of performance, etc., in the accordion type itself.

For instance. In accordions, when adding the octave to the tone, the addition is that of an octave below the normal tone-thus distinguishing from the reed organ type in which the octave is generally above the tone. Hence, when the octave is added, the composite tone not only becomes more powerful but additionally seems to take on the pitch tone of the lower pitch, due to the greater power of the octave reed. This characteristic is present with the usual artist accordion, and permits the per former to present the peculiar characteristic of seeming to add an upper octave by simply restoring the tone to its normal operation.

The present invention retains this characteristic, and, in addition, increases the possibility by the use of an additional octave section limited to the bass section of the instrumentthis octave not being present with the general accordion. The two sections are individually operated, with the result that it becomes possible to not only provide this feature of a seeming raise in octave referred to, but to do this while retaining the octave characteristic in the bass section, so that with the bass octave active' thus seeming to lower the bass section an octave, the treble section, with the treble octave omitted, appears to still farther increase the range of the gamut of the instrument, since the seeming octave above is compared with the seeming octave below provided by the active bass octave section.

Other features in this direction are presented in the present invention, the details of which are pointed out as the invetnion is specifically described.

To these and other ends, therefore, the nature of which will be more particularly pointed out as the invention is hereinafter disclosed, said invention consists in the improved construction and combination of parts hereinafter disclosed in the detailed description, illustrated in the accompanying drawings, and more particularl pointed out in the appended claims.

In the accompanying drawings, in which similar reference characters indicate similar parts in each of the views,

Figure 1 is a top plan view of the assembled instrument forming my present invention;

Figures 2 and 3 are, respectively, front and rear elevations of the same, Figure 4 presenting an end view looking from the right of Figure 2;

Figure 5 is a view of parts of Figure 4 showin certain of the parts separated;

Figure 6 is a perspective view of three of the cabinet walls partially folded;

Figure 7 presents an inside elevation of one of the side walls of the cabinet, the remaining walls being folded in their transporting positions;

Figure 8 is a plan view of the pedal section, a portion of which is shown in side elevation in Figure 9;

Figure 10 is a top plan view on larger scale, the top cover being removed;

Figure 11 is a sectional view taken on line 11l1 of Figure 10;

Figure 12 is an enlarged bottom plan view of the positioned duct board, the valves being omitted;

Figure 13 is a sectional view taken on line l3--13 of Figure 12;

Figure 14 is a bottom plan view of the reed section;

Figures 15 to 18 are plan views respectively of the four reed carriers employed;

Figure 19 is a perspective view showing one of the sliding controls.

As heretofore pointed out, the instrument disclosed herein has tonal characteristics of the accordion rather than that of the reed organ. Due to certain features presently referred to, the tonal characteristics of the present instrument are superior to those of the accordion, but the foundation of the audience tone is found in the general similarity to the accordion in producing the tone. As with the accordion, the result is obtained by combining the vibratory effect of a plurality of reeds rendered active concurrently, with the active reeds fashioned to present vibrations differing slightly as to number per unit of time. For instance, in the treble section, one of the active reeds is on the exact pitch, a second active reed is slightly sharp in pitch, and a third active reed is slightly flat in pitch. This corresponds to the similar reed characteristic of the finest artist accordion, and is preferred herein, although it will be obvious that, if desired, the third reed, if employed, may be tuned on the exact pitch and thus duplicate the first reed. In either case, the composite or audience tone is made up of the combined vibratory effects produced by the activity of the reeds which are con currently active.

In addition, the present instrument, as with the accordion, has the bellows in permanently open communication with the reed section, so that provision must be made to sound the tone with either stroke of bellows movement. Hence,

the reeds for a tone must be duplicated, but so arranged that one reed of the pair will vibrate with one stroke of the bellows, while the other reed of the pair vibrates only on the opposite stroke of the bellows. In producing this result, the structure utilizes the arrangement generally used with accordions of a leather valve applied to the proper face of the reed support, so that it will form a barrier against the passage of air past the reed before which it is positioned.

This general arrangement is indicated somewhat in Figures 11 and 14, in which 20a, 20b and 200 and 20d indicate four reed carriers removably positioned Within the reed section; each carrier is arranged for a definite position in the section, each carrier, however, extending the length of the reed section. The carriers are T-shape in cross-section to provide a vertical reed carrying portion and the ducts therefor. In Figure 14, for instance, which presents the underside of the carriers, a reed assembly for a tone is indicated at 21, this assembly having its two reeds arranged side by side and carried by a frame forming a support therefor. As indicated in Figure 11, these reeds are located relative to a duct 22, and are so positioned that when air is drawn in through duct 22, one of these reeds will be vibrated; when the air is passed through the duct in the opposite direction by changing the stroke of the bellows, the other reed of the pair becomes active.

All of the reeds for the various tones are arranged in this mannera pair of reeds arranged side by side and of similar vibration value, with the pair of reeds located relative to a duct, the pair of reeds forming a barrier between the duct and the bellows. By arranging the pair so that the air can vibrate a reed only when passing in one direction, a reed of the pair is vibrated only when the air is moved in the proper direction relative to the pair. With the bellows moving in its expansion stroke, air is drawn in through the ductthus vibrating one of the pair of reedsand when the bellows stroke is changed, the air passes out through the duct, to vibrate the other reed of the pair.

The second pair of reeds for the tone-with the reeds vibrating at a slightly changed rate has its individual duct, the ducts being arranged in such manner that the ducts for an audience tone can be controlled concurrently. And where, as in the present instrument, provision is made for providing octaves at will, the pair of reeds and the duct therefor of the octave is also made subject to this concurrent duct control. And since this provision of octaves is arranged to permit the gamut to be divided into two sections, with each section individually controlled as to the octave activity, the reed section is given a particular arrangement to meet the particular conditions. The latter will be briefly referred to:

The control of the ducts is provided from a manual key-board-indicated in Fig. 10 as of substantially four octaves, but which may be obviously increased if desired--the keyboard being of the usual type. Each key carries a valve or damper for controlling the ducts of the reeds individual to that particular key (including the octave duct) For convenience, the dampers or valves of the white keys are alined longitudinally of the reed section, as are the valves of dampers of the black keys, the two rows being parallel; as a result, the length of the reed section is materially reduced. The control of the octave ducts as to activity is additionally provided by a sliding valve which, when octaves are not desired, retains all of the octave ducts closed, a condition which requires a valve of this type for each of the rows of dampers. And to meet the conditions of the divided gamut sections for octave activity, these sliding valves must be present for each section. It would be possible to operate these slide valves from opposite ends of the reed section, and thus enable the use of a reed carrier for each row of control valves, but such an arrangement would require each carrier to present three pairs of reeds and ieflects by the performer.

': as of the tone of the dominating octave.

their ducts for each audience tone, an arrangement which would be complicated and expensive. Hence, the present instrument has its reed section arranged with four reed carriers, each damper controlling the ducts of two carriers, thus locating but two of the ducts and pairs of reeds for an audience tone on a single carrier. This enables each carrier to carry one of the sliding valves, and permits the latter to be operated at the same end of the reed section.

In operating the slide valves from the same end of the instrument, however, there is presented the condition that the slide valve for the treble octave section would pass over ducts of tones which are normally included in the bass octave section; since the latter section is being controlled by an individual control valve mounted on a different carrier, it is preferred to render the treble section control inactive in the development of the bass section, octave. Hence, this portion of the treble control may, if desired, be left muteas by the omission of third reed pairs and their duct within the zone covered by the bass octave section, with the control valve left free of ports. However, I prefer to utilize this particular range, and this can be done by providing the reeds of this zone as reeds of the true tone pitch-thus adding the volume of this reed vibration when the treble octave is active; or this particular zone may have other desired characteristics which would be made active when the treble control valve is rendered active. In the arrangement shown in Figs. and 1'7, the controlled ducts lead to reed pairs of the true pitch type.

From this it can be understood that the treble section has three reeds active concurrently, while in the bass section but two reeds are active concurrently at times when neither octave set is active. With the particular arrangement shown, activity of the treble octave control adds fourth reed to the active reeds, the added reed in the treble section being the octave reed, while the added reed in the bass section is of the true pitch type. When the bass octave control is made active, it adds the octave reed of the bass section to th two reeds active in that section if the treble control is inactive, or to the three reeds of that section which are active when the treble control also is active.

rom this, it can be understood that the normal audience tone-the tone without the added octave--is made up of three concurrently active reeds within the gamut range considered as the treble of the instrument, while the bass section tone is made up of two reeds concurrently active,

in the particular arrangement disclosed herein and which presents one embodiment of the invention. Activity of the treble octave control adds an additional reed throughout the gamut, but in the range included in the bass section, the added reed preferably is that of the normal reed in place of adding the octave reed, the latter being the characteristic of the added reed in the treble section. Activity of the bass octave control alone adds the octave bass reed to the pair normally active within the bass section, while the activity of both octave controls provides the four reed activity for each audience tone.

This arrangement permits a large variation in For instance, assume the treble octave control to be active. The larger octave reed, with its slower vibration and larger air needs in vibrating, tends to dominate the tone, so that the audience tone would appear primarily Hence,

with the latter active, the performance of a particular passage and its repetition with the octave inactive, would appear to provide rendition effects an octave apart, although provided by the same key manipulation. The added reed in the bass section added by the treble octave control would add volume rather than depth, so that balance would still be present. Similarly, the activity of the bass octave control provides a similar result in the bass section.

A number of these characteristics are present with the artist accordions, but cannot be utilized to the extent provided by the present instrument. This can be understood from the fact that in the accordion, the manual key section is relatively short and operated by but one hand; the bass section is at the opposite end of the bellows and controlled by the other hand. Hence, the octave manipulation of the treble is limited to control by the performing hand, presenting conditions such as to render it impracticable to perform both functions concurrently. With the present instrument, because of the complete manual key operation, the left hand is available for octave control manipulation of the treble control, if needed, permitting the right hand to concentrate on the key operation.

Referring to Figure 11, the carriers b and 20d are shown as presenting octave reeds for the bass section, the ducts of the former being controlled by a black key damper of the gamut, while the ducts of carrier 20d are controlled by the damper of a white key. The reeds of the octave are indicated at 23 and the duct at 24. The carriers 20a and 200 carry duct reeds 25 and 27 and ducts 26 and 28, certain of the ducts being shown as provided with the slides 29a and 2915; the former pertain to the treble octave section, the latter to the bass octave section. On the particular line of section of Figure 11, inactivity of both octave sections would retain ducts 24 and 26 inactive, duct 26 becoming active when the treble octave is made active, ducts 24 becoming active only when the bass octave is made active. As indicated in Figures 16 and 18, slide valves 2% co-operate only with the lower octave of the gamut, so that in the treble portion of the reed section, the slide valves 2% are absent, with slide valves 29a alone active; hence, in the treble portion, three of the four ducts pertaining to the audience tone are rendered active concurrently.

In other words, the octave reeds for the treble section are found on the carriers 20a and 20c, while the octave reeds for the bass section are carried by the carriers 20?) and 20d, the remain ing reeds of the several carriers forming the reed section of the normal audience tones of the instrument, the normal audience tones of the treble section being provided by the concurrent vibration of three reeds, of which at least one reed vibrates at a slightly different rate from another reed, while the normal audience tones of the bass sectionpractically the lower octave of the instrumentis formed by the concurrent vibration of at least two reeds, one of which vibrates at a slightly difi'erent rate from the other, with an additional reed added to this section (and preferably vibrating at the rate of one of the two reeds) during the period of activity of the treble octave section.

The carriers are supported bya frame 30, the latter being removably secured to the top of a member 31 to which the bellows 51 is secured. suitable bolts or other securing means being employed to secure the frame to the member 31.

The top of the frame is provided by a plate member 33shown more particularly in Figure 12- and which is provided with openings 33a and 33b, these openings registering with ducts of the carriers. Openings 33b are the openings for the ducts controlled by the several sliding valves 29a and 29b. As indicated in Figure 13, the frame 30 is provided with shoulders 30a to locate the position of member 33, the under-surface of the latter including a packing 34, suitable molding 35 serving to retain member 33 in position. The carriers 20a--20d have their upper faces abutting the packing 34, and are arranged side by side, being held in position at the left end in Fig. 14 by a cleat 36, and at the opposite ends by turnable clamps 3'7. When it is desired to remove a carrier, the proper clamp is turned to release the end, after which that end of the carrier is shifted away from the member 33, after which the carrier is drawn lengthwise to release it from the cleat holding of the opposite end.

This latter form of removal is desirable because of the need for dis-connecting the sliding octave valve of the carrier from its actuator. Any suitable means may be employed for providing slide valve movements, a simple arrangement being shown in the drawings. In Figs. 13 and 14, 38 and 39 designate two rods mounted for rotation at the end zone of the frame, these extending at right angles to the direction of length of the carriers. Each rod carries two vertically extending pins 40, the pins of rod 38 being positioned to engage an opening of each of valves 2211, while the pins of rod 39 engage similar openings of valves 29b. It will therefore be understood that if either or both rods 38 and 39 be moved rotatably, such movement will shift the valves controlled thereby in a direction determined by the direction of rotation, the valve movement in one direction shifting the valves to close the ducts controlled thereby, and in the other direction to open such ducts.

The rods 38 and 39 are moved rotatively by levers 38a and 39a extending downwardly, with a lever operatively connected to a slide 41 or 42, these slides being suitably supported to be shifted longitudinally by individual actuating devices, one of the devices and its slide serving for the bass octave control, the other device and slide serving for the treble octave control. The particular form of the device may be as desired, the drawings indicating a device 43 of common commercial usage and which is not specifically claimed herein.

In Figure 14 the device 43 is shown complete at the right and with the cover plate removed at the left. In action, the device serves to shift an arm 43a first in one direction and then in the opposite direction by successive inward movements of a slide 43b which forms a part of the structure, the device including an arrangement of levers and springs by which the inward movement of the slide 43b shifts a toggle structure pastits center with the springs completing the movement. The slide 43b is connected with a hinged plate 44 or 45 pivoted at the front of the key-board-plate, 44 controlling the bass section and plate 45 the treble section.

Assuming that neither octave section is active, and it is desired to add the treble octave section, the performer pushes plate 45 inward to shift slide 42 by the actuation of the device 43, thus moving valves 29a to the position to open the ducts controlled thereby. This status of the valves is maintained until plate 45 is again moved inward, this movement, through the device 43, returning the valves to the duct-closing position. By actuating the plate 44, a similar cycle of action is provided with respect to the bass octave section, slide 41 being moved and operating valves 29b. Since plates 44 and 45 are at the front of the key-board, each can be readily actuated by the thumb of the performer as he continues his performance. The devices 43 lie below and are secured to the underside of the key-board frame 46.

The keyboard frame 46 is carried by frame 30 and is arranged to receive the keys 47 which form the gamut, each key being pivoted, as at Ya (Fig. 11). Each key carries an elbow lever 43, the free end of which carries a damper 49 adapted to control the ducts for the audience tone which the key represents, the damper thus bridging openings of two carriers. Fig. 10 shows the general arrangement in plan view, while Fig. 11 indicates some of the details. As will be understood from Fig. 11 a depression of key 47 will serve to raise its damper 49, thus exposing the openings 33a and 33b controlled thereby. If the slide valves are closing the ducts of openings 33b, these ducts and the reeds thereof Will remain inactive, but if the slide valves are in position to open the ducts of openings 33b, these ducts also will be active in the performance.

A casing 50 rises at the rear of the key-board and overlies the dampers, thus completing the top of the reed section. The top of the casing is preferably made sloping and arranged to support the music of the performer. It will be under stood that the casing 50 may have openings to permit communication of the upper portion of the reed section with the external air, although this is optional since the general arrangement will permit such access through the key-board structure, as will be seen from Fig. 11.

The reed section forms a complete unit which, as before pointed out is bodily removable from the bellows section, if desired. However, the bellows structure is arranged for collapsing in small space, and for convenience, the bellows is retained with the reed section for transportation purposes, the upper portion of Fig. 5 indicating somewhat, this section when the entire instrument is disassembled for transportation.

In describing the bass and treble octave structure, the description has been based on the principle of adding an octave below the audience tone in both treble and bass sections, this being a preferred arrangement and being found in instruments of the present type now in service. However, this is not arbitrary, since the instrument may have the treble section as presenting an octave above the audience tone with the bass section an octave below. In such case, the arrangement of reeds can be such that the treble section could reach actively throughout the gamut-the bass reeds controlled by its valves also being an octave above the audience tone, thus throwing the entire gamut into an octave status when the treble section is made active. If, at such time, the bass section also were made active, the audience tone of the bass section would be a composite of the normal accordion type produced by the two sets of reeds, together with the tones an octave above and an octave below the normal tone.

The latter arrangement is made possible by the use of the particular arrangement of carriers and the fact that four individual reeds can be operated concurrently by the single damper control. To produce the accordion tone, at least two of the reeds have the varied vibration rates referred to, but the remaining reeds may be selected to produce the desired result. One such variation is indicated above, but it will be understood that an additional variation could be provided by continuing the slide valves 20b the full length of the carrier, as with slide valves 29a, in which case it would be possible, by the proper reed selection, to provide a complete gamut having the normal accordion tone, with the ability to add either an octave above or an octave below the normal tone, or, by adding both, produce a composite audience tone made up of the three tones, differing in octave relationship.

The member 31, upon which the reed section is mounted, additionally carries the upper end of the bellows 51, the latter being secured to the underside of such member. The upper end of the bellows is openthe flexible wall of the bellows being secured to a frame 51a which is secured to the underside of the member with a packing 51b therebetween. To permit communication between the bellows and the reed section, the member 31 being provided with an elongated opening 31a, thus placing the reed section in permanently open communication with the interior of the bellows. The lower end of the bellows is closed by an end member 510.

As heretofore pointed out, the bellows section is designed to be operated by the foot or feet of the performer. To provide this result, a pedal section is provided, this section including a bass board 52 carrying brackets 53 in which are mounted the pivot of a pedal 54 of suitable form, the pivot being located intermediate the length of the pedal so that the performer is able to apply pressure in both directions of pivotal movement of the pedal. A rod 55 projects forwardly from the pedal and at its forward end carries a bracket 55a within which is pivotally mounted the lower end of a forked member 56, the arms of which diverge upwardly, the upper ends having lateral extensions adapted to be removably secured to the under face of the end member 510, as by suitable bolts. As will be understood, the lengthening of the pedal by the presence of rod 55, provides a sufficient leverage arrangement to permit the smaller pivotal movements of the pedal to be translated into comparatively large expanding and collapsing movements of the bellows, with the latter movements each provided by the pressure application of the foot of the performer on the pedal in producing the opposite pivotal movements of the latter.

By placing both strokes of the bellows under the direct control of the foot of the performer it is possible for the latter to provide the colorful execution of his selection that forms one of the charms of the usual arm-manipulated accordion. Since the reed section is in open communication with the interior of the bellows, so that changes in the conditions in the latter are immediately responsive in the reed section, the speed variations, even approaching stoppage of movement,

etc., practiced by the artist can be duplicated by the use of the foot, regardless of the stroke of the bellows which is active at the time. In other Words, the particular pedal arrangement permits the foot to provide the activities normally provided by the arm manipulation, leaving the hands free for manual manipulation of the keyboard.

In this respect the present instrument differs from the usual reed organ structures. In the latter, it is the general practice to employ a pedal which serves to expand or to contract the bellows, the opposite stroke of the bellows being provided by suitable spring mechanism, the latter thus returning the pedal for a succeeding active stroke. Such arrangement is permissible with reed organs, since the latter are generally arranged so that the pedal operated bellows acts simply as a feeder for the controlling air chamber. Since the controlling air chamber is omitted from accordions, such bellows arrangementwith the pedal providing one stroke and a spring structure controlling the opposite stroke-would inherently eliminate the ability to provide the colorful performance, since one of the strokes would be automatic in its nature, eliminating the ability to provide the variations in speed, etc., in the automatic stroke, and limiting them entirely to the one stroke, an arrangement that would be unsatisfactory and unacceptable to an accordion artist.

The pedal action in both strokes of bellows movement, however, presents a condition less favorable as compared with the single stroke structures. In the latter the connection between the pedal and bellows may be more or less flexible, since the power is applied to draw the lower end of the bellows; because of the flexibility condition, the fact that the pedal end travels in the arc of a circle is more or less immaterial, since there is no tendency to transmit a curved motion to the bellows itself. Since the return stroke is by spring pressure, and the latter can be readily arranged to have the bellows move in an approximately fixed path.

However, with the bellows operated in both directions by pedal pressure, the flexible connection between bellows and pedal is not feasible since pressure must also be communicated to the bellows from the pedal during the upward or collapsing stroke of the bellows. Because of this there is likelihood of the lower end of the bellows tending to partake of the arcuate movements of the pedal extension. To meet this condition, provision is made to provide an approximately uniform travel of the end member 510. This is provided by a frame 60 carried on each of the end walls of the cabinet, this frame carrying a guide rod 60a on which a member 61 is slidable, this member carrying a pin 61a which is adapted to enter an opening in the end of end member 510. shown for instance in Figs. 2 and 6, and since a frame is operative at each end of the bellows it can be understood that the end member 51c is guided to travel in an approximately fixed path, so that bellows movements will be in generally uniform paths. By the pin connection with the end member 510, the latter can vary in front to rear inclination under the pedal actionthis being possible without affecting the bellows due to the flexible bellows folds. As the frame 60 is pivotally mounted, the members 61 can readily follow the arcuate path, since the frame itself will move pivotally.

The instrument is completed by a collapsible cabinet wall structure, shown removed in Fig. 6. This structure embodies two end walls 62 and a front wall 63, the latter being divided vertically into two equal parts connected with hinges, the end walls also being hinged to such front wall. In the assembly, the member 31 rests upon the top of the end and front Walls, the base member 52 being between the end walls, with the arms 56 secured to the end member 51c and the pins 61a in position, the assembly is shown in Figure 2. The end and front walls, when removed can be The guide rod is preferably inclined, as

folded up into a small compass as indicated in Figure 7, one of the end walls in this view being shown unfolded, but with its frame 60 folded.

As pointed out, the arrangement is designed for ready transportation. Hence, by removing the bolts which connect the arms 56 to end memher 510, and removing member 31 from the top of the end and front walls-the end walls being moved outwardly to disengage pins 6la-the reed and bellows sections provide a comparatively small unit. As indicated in Figure 9, the arms 56 can be folded forwardly on to the pedal. And by collapsing the end and front walls, the entire instrument is brought into a sufficiently small compass as to be carried by a suitable container ich as a small trunk, for instance. When it is desired to erect it for operation, a reversal of the operation will permit the result to be readily accomplished.

A number of the advantageous features are referred to above, but, in addition, it is desired to refer to the following:

While the tonal characteristics are those of the artist accordion, the present instrument permits these to be of a quality superior to those provided by the accordion. This result is due to the fact that the bellows structure that is and can be employed is materially larger than is possible with accordion structures, the result being that the air movements can be rendered more smoothly and, if desired, with greater power. In addition. the top casing 50 has somewhat of the characteristics of an amplifier and modulator, so that the performance presents the tones with superior qualities such as richness of tone etc.

Since the hands of the performer deal only with the manual keys of the key-board, with the latter stationary in position, the execution of the rendition is not aifected by the need of additionally providing bellows movements by the arm, as is required in accordions. In addition, the presence of the octave control members 44 and 45 at the front of the key-board, permits either to be operated by either thumb, the result being that the flexibility of the instrument is always open to the ability of the performer to make use of the possibilities in this direction.

The pedal operation in both directions permits of operator control over the bellows movements throughout. If the bellows is moved in one direction automatically, as by springs, the ability to control such movements is a serious loss in the performance, since the automatic movement would produce routine action, so that the performer could not attempt colorful operation in the other stroke without producing contrasts in the rendition. In addition, the fact that spring actuation must necessarily affect the power is of disadvantage; this will be understood from the fact that with the bellows in its wider expanded state, the springs will be expanded and more powerful than in the position of a near-collapsed state of the bellows. Consequently, the power of the spring will vary with the bellows expansion. Such variation inherently varies the bellows action so that a tone sounded with an expanded bellows would be more likely to be louder than when sounded with a bellows approaching its collapsed stage-due to the fact that the spring power would attempt to force the air from the bellows with greater rapidity. As a result, the rendition of the performance would be additionally affected in this respect.

While the gamut is shown as being between four and five octaves in length, it will be readily understood that the invention is not limited in this respect and may be of greater or shorter length as the performer may desire. As will be understood the arrangement of the reed section is such that the necessary additions may be made Without affecting the principles of the arrangement.

And this flexibility in structure can also reach in other directions. For instance, while there is shown the use of the four reed carriers, with each carrying two of the ducts for a tone, and with a key damper active with two of the carriers, it can be readily understood that the number of carriers can be readily increased in number, so that a key damper may cooperate with a greater number, thus permitting each carrier to carry but a single duct, or the audience tone be amplified by additional reeds acting concurrently with those disclosed. In other words, the reed section is of such a type generally, as will enable the builder of the instrument to meet the in ividual desires of an artist performer within a wide range of possibilities, while preserving the general characteristics of the instrument itself.

While I have herein shown and described a preferred form of this invention and described possible variations thereof, it will be readily understood that changes or modifications thereof may be found essential or desirable in meeting particular exigencies of service or wishes of particular performing artists, and I desire to be understood as reserving the right to make any and all such changes or modifications therein as may be found desirable or essential, insofar as the same may fall within the spirit and scope of the invention as more particularly pointed out in the appended claims when broadly construed.

Having thus described the invention, what is claimed is:--

1. In musical instruments of the reed type operative to produce tonal characteristics of the accordion type, a reed section, a pedal-operated bellows in open communication with the reed section and having its expanding and collapsing movements each by such pedal operation, said reed section having a plurality of reeds concurrently active in the production of an audience tone of the instrument in presence of bellows movement, and a manual key-board having a gamut to include the entire range of the reed section with the keys of the key-board individually operable in the control of all reeds active in the sounding of the audience tone determined by the key.

2. An instrument as in claim 1 characterized in that the reeds for an audience tone include at least two reeds concurrently active with said reeds differing slightly in number of vibrations per unit of time.

3. An instrument as in claim 1 characterized in that the reed section includes treble and bass portions with the reeds for an audience tone of the treble portion including at least three reeds active concurrently with at least two of the three reeds differin slightly in the number of vibrations per unit of time.

4. An instrument as in claim 1 characterized in that the reed section includes treble and bass portions with the reeds for an audience tone of the bass portion include at least two reeds concurrently active with said reeds differing slightly in the number of vibrations per unit of time.

5. In musical instruments of the reed type operative to produce tonal characteristics of the accordion type, a reed section, a pedal-operated bellows in open communication with the reed section and having its expanding and collapsing movements each by such pedal operation, said reed section having a plurality of reeds concurrently active in the production of an audience tone of the instrument in presence of bellows movement, and a manual key-board having a gamut to include the entire range of the reed section with the keys of the key-board individually operable in the control of all reeds active in the sounding of the audience tone determined by the key, said reed section including reeds for each tone of the key-board gamut, said reeds being operative when active to provide an octave characteristic to the audience tone being sounded, and means independent of manipulation of keys of the key-board for rendering said latter reeds active and inactive at will.

6. An instrument as in claim 5 characterized in that the octave reed has the vibration value of an octave below the vibration value of the reeds forming the normal audience tone.

'7. An instrument as in claim 5 characterized in that the reed section includes treble and bass portions, the octave reeds of the treble section being controlled as a unit as to activity by such means and independently of the control of the activity of the octave reeds of the bass portion.

8. An instrument as in claim 5 characterized in that the reed section includes treble and bass portions, the octave reeds of the treble portion being controlled independently of those of the bass portion, the control means for the octave reeds of the treble portion being operative to add a non-octave reed to the active reeds of the bass section when the treble portion octave means is active, whereby the audience tone of a bass portion tone will be increased in volume when the audience tone of the treble portion is augmented by its octave. v

9. An instrument as in claim 1 characterized in that the reed section includes a plurality of independently-removable parallel reed carriers, with each carrier having the reeds and ducts of at least one of the tones of each octave within the gamut of the instrument.

10. An instrument as in claim 1 characterized in that the reed section includes a plurality of parallel reed carriers, each carrier including the reeds and ducts of two reeds capable of concurrent activity during sounding of an audience tone.

11. An instrument as in claim 1 characterized in that the reed section includes a plurality of parallel reed carriers, each carrier including the reeds and ducts of two reeds capable of concurrent activity during sounding of an audience tone, the key control being active with ducts of two of the carriers active in sounding the audience tone controlled by such key.

12. An instrument as in claim 5 characterized in that the reed section includes a plurality of parallel reed. carriers, with each carrier having reeds and ducts therefor, the octave reeds for a treble portion of the instrument being located on a diiferent carrier from that on which the octave reeds for the bass portion are located to permit of independent control as to activity of the bass and treble octave reeds.

13. In musical instruments of the reed type operative to produce tonal characteristics of the accordion type, a reed section, a bellows having a fixedly-positioned end in open communication with the reed section, pedal-operated means removably secured to the opposite end of the bellows for positively moving such opposite end in opposite directions to. expand and collapse the bellows, and a collapsible cabinet for supporting the reed section and partially enclosing the bellows and pedal means, whereby the instrument may be assembled for performance and disassembled into units for transportation at will.

14. An instrument as in claim 13 characterized in that means are provided for maintaining the bellows in collapsed condition relative to the reed section when the latter is in disassembled state.

15. An instrument as in claim 13 characterized in that the cabinet and movable bellows end have cooperative disengageable means for maintaining bellows direction of movement when the instrument is assembled for performance.

16. An instrument as in claim 5 characterized in that the reed section includes treble and bass octave reeds with the treble reeds located to permit control as to activity independent of the bass octave reeds, the individual control means for both portions being located at the front of the key board, to permit individual operation of either control by either hand of the performer.

17. An instrument as in claim 1 characterized in that the reed section includes a plurality of reed carriers, each of which carries reeds and ducts active in the sounding of an audience tone, said carriers being relatively arranged to permit the reeds for the audience tones represented by the gamut of the black keys to be located in adjacent carriers and independent of the reed carriers for the gamut of the white keys, wh reby the reeds and ducts for the entire gamut may be mounted within a length distance equal to that of the keyboard.

18. In musical instruments of the reed type operative to produce tonal characteristics of the accordion type, a reed section, a pedal operated bellows in open communication with the reed sec tion and having its expanding and collapsing movements each by such pedal operation, a cabinet for supporting the reed section and partially enclosing the bellows and pedal formations, and means carried by the cabinet and co-operative with the bellows for guiding the latter during its stroke movements, said means including a frame pivoted on an approximately vertical axis with a frame portion remote from the axis and swingable thereon operatively connected with the bellows with the connections permitting the bellows stroke movements.

CLIFFORD B. SMITH.

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