WO2012146133A1 - 用于吉他制作的一体化紧密组装梁架结构 - Google Patents

用于吉他制作的一体化紧密组装梁架结构 Download PDF

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Publication number
WO2012146133A1
WO2012146133A1 PCT/CN2012/074058 CN2012074058W WO2012146133A1 WO 2012146133 A1 WO2012146133 A1 WO 2012146133A1 CN 2012074058 W CN2012074058 W CN 2012074058W WO 2012146133 A1 WO2012146133 A1 WO 2012146133A1
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Prior art keywords
soundboard
guitar
bridge
neck
beam structure
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PCT/CN2012/074058
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English (en)
French (fr)
Inventor
林倞
Original Assignee
Lin Liang
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Publication of WO2012146133A1 publication Critical patent/WO2012146133A1/zh

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    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10D—STRINGED MUSICAL INSTRUMENTS; WIND MUSICAL INSTRUMENTS; ACCORDIONS OR CONCERTINAS; PERCUSSION MUSICAL INSTRUMENTS; AEOLIAN HARPS; SINGING-FLAME MUSICAL INSTRUMENTS; MUSICAL INSTRUMENTS NOT OTHERWISE PROVIDED FOR
    • G10D3/00—Details of, or accessories for, stringed musical instruments, e.g. slide-bars
    • G10D3/02—Resonating means, horns or diaphragms
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10D—STRINGED MUSICAL INSTRUMENTS; WIND MUSICAL INSTRUMENTS; ACCORDIONS OR CONCERTINAS; PERCUSSION MUSICAL INSTRUMENTS; AEOLIAN HARPS; SINGING-FLAME MUSICAL INSTRUMENTS; MUSICAL INSTRUMENTS NOT OTHERWISE PROVIDED FOR
    • G10D1/00—General design of stringed musical instruments
    • G10D1/04—Plucked or strummed string instruments, e.g. harps or lyres
    • G10D1/05—Plucked or strummed string instruments, e.g. harps or lyres with fret boards or fingerboards
    • G10D1/08—Guitars

Definitions

  • the present invention relates to the field of musical instrument manufacturing, and more particularly to an integrated compact assembled beam structure for guitar production.
  • Guitar production not only meets the structural requirements, but also achieves a good tone, to meet the needs of musicians and listeners, it is very difficult to produce a high level of guitar, the composition of a guitar body is shown in Figure 1.
  • the main body is composed of a head 1 1 , a neck 12 , a body 13 and a bridge 14 , and the body 13 is provided with a sound hole 15 (a hole in the center of the soundboard for allowing sound to float from the body).
  • the most important structural part is the connection between the neck (the range of the left-handed string when playing) and the body or resonance box (the resonance box is used to enlarge, transmit the piano, and achieve a beautiful tone);
  • the wood board which can vibrate effectively with the strings, produces sound, which is generally less stable and susceptible to humidity changes.
  • the junction of the neck and the body called a small area of the neck of the neck, requires precise stitching to make the instrument easier to play, but it is often difficult to make precise stitching.
  • the back of the traditional acoustic guitar's soundboard (guitar panel) has been reinforced with cross beams, namely the "cross beam".
  • the inventor of the "cross beam” model was the founder of the American Martin Guitar Company.
  • the back of the soundboard will generally be attached to the beam to make it relatively fixed.
  • the typical structure is shown in Figure 2.
  • the back of the soundboard 21 is affixed with five main beams (face beam 22, surface beam 23) , face three beams 24, cross beams 25), four spars 26 as the secondary main beam, and 2 to 3 sound hole auxiliary beams 27; the way to attach it is to make the larger area of each beam Vertical to the soundboard, at right angles to the soundboard, so the traditional beam looks tall and thin.
  • Recent mechanical studies of string tension have shown that the "cross-beam" mode is not the most ideal or optimal structure.
  • the reasons are as follows: The (neck) tensile stress and the (qin) rotational inertia force of the strings after the standard pitch strings are about 70 kg for each set (the thickness is 0.0012 to 0.0053 ft, a total of 6). Stress and some rotational inertia forces.
  • the medium-thickness set of 6 strings each of which has a thickness of: from treble to bass E 12-B 16-G 24-D 32-A 42-Low E 53 (unit is one thousandth of a foot)
  • the guitar's function should be able to play as loud and beautiful as possible. This relatively fixed and excessive beam interferes with the soundboard vibration. Large, reducing the motion, amplitude or amplitude of the soundboard. As a result, guitar makers have been looking for better structures and methods to make and further improve guitar performance.
  • an object of the present invention to provide an integrated compact assembly beam structure for guitar production which is different from the current conventional structure, has better performance in performance, and is easier to manufacture.
  • the present invention is achieved by the following technical solutions:
  • An integrated tightly assembled beam structure for guitar production the beam frame on the back of the guitar soundboard is composed of two main beams located on both sides of the sound hole and both a bridge between the bridges, the beam is connected to the neck to form an extension of the neck; the bridge is corresponding to the position of the bridge on the soundboard; the main beam and the piano
  • the mat is wide and flat, and its larger area is parallel to the soundboard.
  • the bridge is made of two pieces of wood, and the wood grain of the two boards is at an angle of 45 to 60 degrees with respect to the longitudinal axis of the soundboard. Further, the wood grain direction of the soundboard is consistent with the longitudinal direction of the installation of the main beam. Further, a wooden or plastic positioning nail is used between the beam and the soundboard for installation and positioning.
  • the integrated compact assembly beam structure for guitar making according to the present invention is assembled by four finely staggered woods to form a beam set, which is wide and flat, and can withstand the tensile stress and the rotational inertia force generated during the performance, which is convenient.
  • the soundboard vibrates, reducing the degree of stiffness (fixedness).
  • FIG. 1 is a schematic view of the structure of a guitar
  • FIG. 2 is a schematic structural view of a conventional "cross beam”
  • FIG. 3 is a structural view of the beam structure of the present invention
  • FIG. 4 is an exploded view of the beam structure of the present invention. ;
  • Fig. 5 is a view showing the assembled structure of a guitar using the beam structure of the present invention. In the picture:
  • the beam is connected with the neck 12 to form an extension of the neck 12;
  • the position of the bridge is corresponding to the position of the bridge 14 on the soundboard 21;
  • the main beam 3 1 , 32 and the bridge are wide and flat, and the larger area is parallel to the soundboard 21 .
  • the strength of the wood is 12 to 16 times stronger in the direction along the wood grain.
  • the bridge is made up of two wooden boards 33 and 34. The wood grain of the two boards is respectively associated with the sound board.
  • the shaft has an angle of 45 to 60 degrees; in this layout configuration, the bridge has the best rigidity, and can transmit the tensile stress and rotational inertia generated from the attachment point to the center of the soundboard, further through two
  • the root main beam 3 1 , 32 is transmitted to the guitar resonance chamber, and the coffin of the neck is at 35.
  • the wood grain direction of the soundboard 21 is the same as the longitudinal direction of the installation of the main beam frame, so that the entire beam has the greatest rigidity along the longitudinal direction of the guitar, the wood used can be reduced, and the area of the beam attached to the soundboard 21 is also reduced. Thus, the weight of the soundboard 21 is also reduced.
  • the large area of the soundboard has no beam, so there is little or no force applied to these areas, so the soundboard can be made lighter and thinner. These areas without the beam can vibrate better and thus emit The louder the sound, the louder it is.
  • the wood when exposed to a large humidity, it does not extend longitudinally along the texture, but can extend laterally across the texture by more than 5%.
  • the beam frame is placed according to the wood grain direction of the soundboard, and the number of beams is reduced, so that the difference between the beam and the soundboard is reduced, thereby reducing the deformation or warping.
  • the production also makes the production more convenient.
  • the wooden frame or the plastic positioning pin 36 is used for positioning and positioning between the beam and the soundboard 21, and the components can be accurately positioned during the manufacturing and assembly process, so that the guitar is made more precise.

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  • Physics & Mathematics (AREA)
  • Engineering & Computer Science (AREA)
  • Acoustics & Sound (AREA)
  • Multimedia (AREA)
  • Stringed Musical Instruments (AREA)

Description

用于吉他制作的一体化紧密组装梁架结构
技术领域 本发明属于乐器制作领域， 尤其涉及一种用于吉他制作的一体化紧密组装梁 架结构。 背景技术 吉它制作不单要满足结构上的要求， 还要达到良好的音色， 以满足乐手和听 众的需求， 制作出高水准的吉它是非常有难度的， 一把吉它本体的组成如图 1 所 示， 主要由琴头 1 1、 琴颈 12、 琴身 13、 琴马 14组成， 琴身 13上设有音孔 1 5 (音 板中心的孔洞， 用于使声音从琴体飘出）， 其中最主要的结构部位， 就是琴颈（弹奏 时左手按弦的范围）与琴身或共鸣箱 （共鸣箱用于放大、 传导琴声， 并达到优美的 音色）的连接； 琴身采用薄木板， 能够随着琴弦有效振动， 继而产生声音， 而薄木 板通常都不太稳定， 容易受到湿度变化的影响。 而琴颈与琴身的接合处， 称为琴颈趸部的一小块区域， 要求必须精确的拼接， 以使乐器更容易弹奏， 但通常很难进行精确的拼接。 自 1 830年代始， 传统民谣吉 他的音板（吉他面板）背面均贴放交叉梁架进行加固， 即 "十字梁架"， "十字梁架" 模式的发明者为美国 Martin吉他公司创始人 c F Martin , 音板（吉他面板）背面一般 会贴上梁架使其相对固定， 典型结构如图 2所示， 音板 21背面贴有 5根主梁架（面 一梁 22、 面二梁 23、 面三梁 24、 十字梁 25)， 4根翼梁 26作为次主梁架， 以及 2 至 3根音孔辅助梁架 27 ;其贴用方法是使各梁架木条面积较大的一面垂直于音板， 与音板成直角， 所以传统梁架看起来高而细。 近期对琴弦拉力的力学研究表明， "十字梁架"模式并非最理想或最佳的结构。 原因如下： 按标准音调弦后的琴弦产生的（琴颈）拉应力和（琴马）旋转惯性力为每套 (粗度 0.0012至 0.0053 英尺， 共 6根）琴弦产生约 70公斤的拉应力和一些旋转惯 性力。
中等粗度的一套 6根琴弦中， 每根的粗度分别为： 从高音到低音 E 12-B 16-G 24-D 32-A 42-Low E 53 (单位为千分之一英尺）， 然而吉他的功能除了承受上述拉应 力和 旋转惯性力外， 更要能演奏出尽可能响亮和美妙悦耳的乐音， 这种相对固定 和过多的梁架对音板震动进行干扰的区域过大， 减少了音板的运动、 振幅或幅度。 因此， 吉它制作者们一直在寻求更好的结构和方法来进行制作， 并进一步提 高吉它的演奏性能。 发明内容 针对以上缺陷， 本发明的目的是提供一种用于吉他制作的一体化紧密组装梁 架结构， 其不同于目前的传统结构， 具有更好的演奏使用性能， 并且更容易制作。 为实现上述目的， 本发明通过以下技术方案实现： 一种用于吉他制作的一体化紧密组装梁架结构， 吉他音板背面的梁架由位于 音孔两侧的两片主梁架和两者之间的琴马垫木组合而成， 所述梁架与琴颈相连接 形成琴颈的延伸； 所述琴马垫木对应音板上琴马的位置； 所述主梁架与所述琴马 垫木宽而扁， 其面积较大一面与音板平行贴合。 进一步的， 所述琴马垫木由两片木板拼接而成， 两片木板的木纹分别与音板 纵轴成 45至 60度角。 进一步的， 所述音板的木纹方向同所述主梁架的安装纵向一致。 进一步的， 所述梁架与音板之间采用木质或塑料定位钉进行安装定位。 本发明所述的用于吉他制作的一体化紧密组装梁架结构， 采用 4 条精细交错 的木料组装形成梁架组， 其宽而扁， 能够承受演奏时产生的拉应力和旋转惯性力， 方便音板震动， 减少了僵硬程度（固定性）， 琴弦拨动时的振幅反过来带动这个上下 弹动， 并在一定程度上发生旋转， 继而振动音板或带着它 "共振"， 可演奏出尽可 能响亮和美妙悦耳的乐音， 远比现有结构形式的吉它所产生的声音要响亮， 具有 更好的演奏使用性能， 并且更容易制作。 附图说明 下面根据实施例与附图对本发明作进一步详细说明。 图 1是吉他的组成示意图； 图 2是传统 "十字梁架" 的典型结构示意图； 图 3是本发明所述梁架结构的组成结构图； 图 4是本发明所述梁架结构的爆炸图；
图 5是采用本发明所述梁架结构的吉他组装结构图。 图中：
1 1、 琴头； 12、 琴颈 ； 13、 琴身； 14、 琴马； 1 5、 音孔；
21、 ； 22、 面 梁； 23、 面二梁； 24、 面三梁； 25、 十字梁； 26、 翼梁； 音孔
Figure imgf000004_0001
梁架； 3 1、 32、 主梁架； 33、 34、 木板； 35、 趸部； 36、 定位钉。 具体实施方式 如图 3 至 5所示， 给出了本发明所述用于吉他制作的一体化紧密组装梁架结 构的 组成， 不同于以往的 "十字梁架"， 吉他音板背面的梁架由位于音孔 1 5两侧 的两片主梁架 3 1、 32和两者之间的琴马垫木组合而成， 所述梁架与琴颈 12相连 接形成琴颈 12 的延伸； 所 述琴马垫木对应音板 21 上琴马 14的位置； 所述主梁 架 3 1、 32与所述琴马垫木宽而扁， 其面积较大一面与音板 21平行贴合。 木料的强度在顺着木纹的方向强度是跨木纹方向的 12至 16倍， 所述琴马垫 木由 两片木板 33、 34拼接而成， 两片木板的木纹分别与音板纵轴成 45至 60度 角； 在这种布局配置下， 琴马垫木具有最好的刚性， 能够将琴弦从附着点上产生 的拉应力和旋转惯性力传导至音板中心， 进一步通过两根主梁架 3 1、 32传至吉他 共鸣腔内、 琴颈跟部的趸木 35处。 音板 21 的木纹方向同所述主梁架的安装纵向一致， 使整个梁架沿吉他纵向具 有最大的刚度， 可使使用的木料减少， 音板 21上贴附梁架的面积也减少了， 从而 音板 21 的重量也减轻了。 这样音板上大块的面积都没有梁架， 所以只有很少的力 或者并没有力施加在 这些面积上， 因而音板可以更轻薄， 这些没有梁架的面积可 以更好地振动， 从而发出更大的声音、 更加响亮。 另一方面， 当木料暴露在较大的湿度下时， 并不会沿着纹理纵向伸展， 却可 以横向地跨纹理伸展 5%以上。 如果音板上按垂直于纵轴方向贴了梁架（即梁架木 料纹理与音板 纵轴垂直；)， 那么一旦暴露在较大湿度下， 音板就会（沿着纹理横向；) 伸展， 而梁架却不会 （因为它们是沿着纵向纹理的）， 这时音板就会凸出（当暴露在 高于其制作湿度的环境时）， 而在低于制作湿度时音板则会凹陷。 采用本发明所述 的梁架结构， 其梁架的放置依顺音板 的木纹方向， 同时梁架数量减少， 使得梁架 与音板伸展的区别变小， 从而减少了变形或翘面的情况的产生， 也使得制作更加 方便。 所述梁架与音板 21 之间采用木质或塑料定位钉 36进行安装定位， 在制作、 组装过程中能够对部件进行准确定位， 使吉他的制作更加的精确。

Claims

1、 一种用于吉他制作的一体化紧密组装梁架结构， 其特征在于：吉他音板背 面的梁架由位于音孔两侧的两片主梁架（3 1、 32)和两者之间的琴马垫木组合而成， 所述梁架与琴颈相连接形成琴颈的延伸；所述琴马垫木对应音板上琴马的位置；所 述主梁架与所述琴马垫木宽而扁， 其面积较大一面与音板平行贴合。
2、 根据权利要求 1 所述的梁架结构， 其特征在于:所述琴马垫木由两片木板 (33、 34) 拼接而成， 两片木板的木纹分别与音板纵轴成 45至 60度角。
3、 根据权利要求 1 或 2 所述的任一种梁架结构， 其特征在于:所述音板的木 纹方向同所述主梁架（3 1、 32)的安装纵向一致。
4、 根据权利要求 1 或 2 所述的任一种梁架结构， 其特征在于:所述梁架与音 板之间采用木质或塑料定位钉进行安装定位。
PCT/CN2012/074058 2011-04-28 2012-04-15 用于吉他制作的一体化紧密组装梁架结构 WO2012146133A1 (zh)

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CN102129853B (zh) * 2011-04-28 2013-05-08 林倞 用于吉他制作的一体化紧密组装梁架结构
CN103264426B (zh) * 2013-06-08 2014-10-08 厦门理工学院 全自动力木加工机
CN110400553A (zh) * 2019-06-30 2019-11-01 深圳视感文化科技有限公司 一种具有琴颈的弦乐器

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US5952592A (en) * 1998-07-06 1999-09-14 C.F. Martin & Company, Inc. Acoustic guitar assembly
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CN102129853A (zh) * 2011-04-28 2011-07-20 林倞 用于吉他制作的一体化紧密组装梁架结构
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US5461958A (en) * 1993-12-10 1995-10-31 C. F. Martin & Company, Inc. Acoustic guitar assembly
US5661252A (en) * 1996-04-08 1997-08-26 Krawczak; Kazimierz Marian Acoustic arm
US5952592A (en) * 1998-07-06 1999-09-14 C.F. Martin & Company, Inc. Acoustic guitar assembly
CN101086839A (zh) * 2006-06-01 2007-12-12 芬德乐器公司 吉他主体加强
CN102129853A (zh) * 2011-04-28 2011-07-20 林倞 用于吉他制作的一体化紧密组装梁架结构
CN202126831U (zh) * 2011-04-28 2012-01-25 林倞 用于吉他制作的一体化紧密组装梁架结构

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