Inner support structure for a stringed instrument
The present invention is concerned with an inner support structure for a stringed instrument, according to the introductory part of Claim 1.
Background
When the strings of the violin are tightened, the bottom of the violin is exposed to a tensile force. This involves the bottom being raised due to its having a curved shape. It can be shown that the compressive force on the lid is greater near the neck than near the string holder. This condition leads to the so called wolf tones.
In order to counteract the tensile forces from the strings, the resonance box has until now been made of a relatively heavy wooden construction. This is a drawback, as all components of the violin should be as light as possible, while at the same time be as being as rigid as possible. Also from a dynamic consideration, known structures have the drawback that the dynamic effects are influenced to an unacceptable level by static conditions.
Support structures for stringed instruments are previously known, e.g. through US- Patent Specifications 1 635 502, 2 145 978 and 4 172 404. These known devices, however, do not solve the problem of providing a light support structure giving a good sound quality, as they do not work against the static forces from the strings.
Object
It is thus an object of the invention to provide an inner support structure for a violin, where the static forces from the strings are substantially neutralized, and where the dynamic effects are substantially independent of static conditions.
The invention
The object of the invention is achieved with a device having features as stated in the characterizing part of patent claim 1. Further features are clear from the following dependent claims.
In the following, the invention will be explained in more detail with reference to an embodiment and to the accompanying drawings, where
Fig. 1 shows a violin body according to the present invention, as seen from above,
Fig. 2 shows a cross section of the violin body from Fig. 1, along the line II-II, Fig. 3 shows a cross section of the violin body from Fig. 1, along the line III-III,
Fig. 4 and 5 show the trestle from Fig. 3, as seen from the side and from above, respectively,
Fig. 6 shows the violin body from Fig. 1, seen from above and without lid, and
Fig. 7 shows a cross section of the violin body from Fig. 6, taken along thejine VII-VII.
Fig. 1 shows a violin body, generally denoted 1, that is equipped with a lid 2. Furthermore is situated a hole 3 for a pin for fastening the string bridge. This will be closer described below.
Fig. 2 shows the upper and lower frame end 5 and 6, respectively, and the lid 2 and a bottom 4 in the violin body 1. Between upper and lower frame end 5, 6 is situated a longitudinal support 10. The support 10 is fastened to the upper section of the frame ends 5, 6, near the lid 2, and extends from both ends substantially toward the middle. The centre of the support 10 bears against a cross member 8 which is fastened both to the bottom 4 and to a longitudinal member 7 at the centre of the bottom. The cross member 8 has a hole 9 for reception of a pin 18. Further, a sound pin 11 is disclosed, which shall hereafter be described.
As mentioned above, the longitudinal support 10 is situated against the frame at the neck and the bottom, in order to take up the pressure which is formed when the strings are tightened, typically about 40 kg. Without this support the frame will have a tend- ency to become unstable both in construction and in maintaining the string tension. The effect of this support is thus achievment of correct vibrations, corresponding to that of old (aged) violins which have hardened, in contrast to newer (younger) violins, where the wood still travels.
Between upper and lower frame end 5 and 6, respectively, is also situated a longi- tudinal trestle 12, 13, comprising an upper chord 12 and a lower chord 13. This can be seen in Fig. 3. In Fig. 4 and 5, the trestle 12, 13 is depicted separately. The upper
chord 12 lies up against the lid, and the lower chord 13 lies down against the bottom 4. With reference also to Fig. 6 and 7 it can be seen that the lower chord 13 is fastened to the cross member 8 by a pin 18. The function of the trestle 12, 13 is such that when the upper chord 12 is pressed down, the lower chord 13 is raised, and vice versa.
The cross member 8 is fastened to a frame 14. In Fig. 7 it can be seen that the cross member 8 is narrower on the frame fastened end, so that it can have some flexibility there. A string bridge (not shown) is connected to the cross member 8 by the sound pin 11. The string bridge is situated on one side (over the E-string) in a hole 16 of the sound pin, and on the opposite side (over the G-string) against a reinforcement 19 in the lid 2. The sound pin 11 is situated in a slot 17 in the cross chord. It is fastened so that it can have a slight movement in a transverse direction due to the shape of the pin, while it is mainly fixed in the longitudinal direction, e.g. with glue. The string bridge functions through the sound pin 11 with a downward force against the cross member 8. The support 10 works against the forces from the strings, and contribute to the frame being supported. When the upper chord 12 is pressed down, the lower chord 13 is raised.
The inner static structure in the violin has resultant forces in lid and bottom which are close to zero. Thus, it is this structure that bears the forces and not the resonance box as in known violins. This means that the top and the bottom can be of thinner designed thinner, thereby improving the sound quality substantially. The improvment results because the lid lies between the trestle 12, 13 and the string bridge, and is vibrated by the sounds of the strings. During playing, the string bridge will move from side to side, depending on which string is played. The E-string will press the pin 11 down, and this will work through the cross member 8 over to the longitudinal trestle 12, 13, so that it is moved upward¬ ly. The same thing will happen when the G-string is played, but in reverse order, that is, the trestle 12, 13 is moved downwardly and the pin is moved upwardly. In this way the correct pump effect is established, in other words, the lid is moved down when the bottom is moved up, and vice versa.
In order to relieve the unstable properties of the wood, the support 10 can alterna¬ tively be pressed together in a suitable apparatus, or be lined with a sheet of iron or another metal. This gives a fine tone, and it is not necessary to tune the violin as often.