WO2016200483A1 - Sourdine étendue de piano - Google Patents

Sourdine étendue de piano Download PDF

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Publication number
WO2016200483A1
WO2016200483A1 PCT/US2016/027525 US2016027525W WO2016200483A1 WO 2016200483 A1 WO2016200483 A1 WO 2016200483A1 US 2016027525 W US2016027525 W US 2016027525W WO 2016200483 A1 WO2016200483 A1 WO 2016200483A1
Authority
WO
WIPO (PCT)
Prior art keywords
piano
pedal
hammer
soft
mode position
Prior art date
Application number
PCT/US2016/027525
Other languages
English (en)
Inventor
Marvin Scott Jones
Sue Guan Lim
Susan Yake Kenagy
Original Assignee
Steinway, Inc.
Priority date (The priority date is an assumption and is not a legal conclusion. Google has not performed a legal analysis and makes no representation as to the accuracy of the date listed.)
Filing date
Publication date
Priority claimed from US14/851,234 external-priority patent/US9343044B2/en
Application filed by Steinway, Inc. filed Critical Steinway, Inc.
Priority to EP16807956.4A priority Critical patent/EP3308375B1/fr
Priority to CN201680046835.8A priority patent/CN108028039B/zh
Publication of WO2016200483A1 publication Critical patent/WO2016200483A1/fr

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Classifications

    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10C—PIANOS, HARPSICHORDS, SPINETS OR SIMILAR STRINGED MUSICAL INSTRUMENTS WITH ONE OR MORE KEYBOARDS
    • G10C3/00—Details or accessories
    • G10C3/26—Pedals or pedal mechanisms; Manually operated sound modification means
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10C—PIANOS, HARPSICHORDS, SPINETS OR SIMILAR STRINGED MUSICAL INSTRUMENTS WITH ONE OR MORE KEYBOARDS
    • G10C1/00—General design of pianos, harpsichords, spinets or similar stringed musical instruments with one or more keyboards
    • G10C1/02—General design of pianos, harpsichords, spinets or similar stringed musical instruments with one or more keyboards of upright pianos

Definitions

  • This invention relates to upright or vertical pianos, and, in particular, to soft pedal (or soft mode pedal) assemblies of such pianos.
  • An acoustic piano employs various systems for transmitting energy from a finger or actuator input force into an auditory, vibrational force.
  • the transmission system commonly called the “piano action”, or “action”
  • action is a network of levers, cushions and hammers that accepts finger/actuator input force through a collection of pivotal levers, known as piano keys, or keys.
  • the piano keys and piano actions focus this input force into rotating hammers of proportional density that are positioned to strike against tensioned wire strings.
  • the piano hammers and their corresponding piano strings are both carefully constructed to match their acoustic properties, resulting in a tapered or graduated "scale” of components that cumulatively produce a multiple note span of musical frequencies.
  • the piano strings act as media through which vibrational energy is transferred into an amplifier such as a soundboard, or electric speaker, where it ultimately is converted into audible sound.
  • Pianos can produce a wide range of volumes. Larger pianos can further expand this range to include very loud sounds, such as heard in concert pianos that are expected to broadcast over an accompanying orchestra without the assistance of electronic amplification. Pianos are present in many households, schools, institutions, etc.
  • a piano selectively playable in a normal mode and in two or more soft modes comprises: a set of multiple piano keys; a set of multiple piano actions associated with the multiple piano keys, each piano action including a piano wippen assembly actuated by depression of a corresponding piano key; a set of multiple piano hammers, each piano hammer mounted for rotating movement and defining a forward throw direction toward at least one corresponding piano string, each piano hammer being driven by a corresponding piano wippen assembly to transfer force applied to an associated piano key; and a soft mode pedal system comprising: a soft mode pedal and an ultra-soft soft mode pedal; a hammer rest rail mounted for movement among a normal mode position with the set of multiple piano hammers disposed at rest at a spaced distance from corresponding piano strings, a soft mode position with the set of multiple piano hammers moved into at rest positions closer to the corresponding piano strings (relative to the normal mode position), and an ultra-soft mode position with the set of multiple piano hammers
  • the ultra-soft mode pedal is a middle foot pedal.
  • the soft mode pedal is a left foot pedal.
  • the hammer rest rail is additionally mounted for movement to a loud mode position with said set of multiple piano hammers moved into at rest positions further from the corresponding said piano strings, the piano key lift rail is additionally mounted for movement for a loud mode position disposed in contact with and lowering said piano keys.
  • a piano selectively playable in a normal mode and in two or more soft modes comprises: a set of multiple piano keys; a set of multiple piano actions associated with the multiple piano keys, each piano action including a piano wippen assembly actuated by depression of a corresponding piano key; a set of multiple piano hammers, each piano hammer mounted for rotating movement and defining a forward throw direction toward at least one corresponding piano string, each piano hammer being driven by a corresponding piano wippen assembly to transfer force applied to an associated piano key; and a soft mode pedal system comprising: a soft mode pedal and an ultra-soft mode pedal; a hammer rest rail mounted for movement among a normal mode position with the set of multiple piano hammers disposed at rest at a spaced distance from corresponding piano strings, a soft mode position with the set of multiple piano hammers moved into at rest positions closer to the corresponding piano strings (relative to the normal mode position), and an ultra-soft mode position with the set of multiple piano hammers moved
  • the hammer rest rail lock is arranged for securing the hammer rest rail in at least one of the soft mode position and the ultra-soft mode position by locking engagement of a left foot pedal.
  • the hammer rest rail lock is arranged for securing the hammer rest rail in at least one of the soft mode position and the ultra-soft mode position by locking engagement of a middle foot pedal.
  • the hammer rest rail lock is arranged for securing the hammer rest rail in at least one of the soft mode position and the ultra-soft mode position by locking engagement of an actuator.
  • the hammer rest rail lock is arranged for securing the hammer rest rail in at least one of the soft mode position and the ultra-soft mode position by locking engagement of a foot-operated actuator.
  • the hammer rest rail lock is arranged for securing the hammer rest rail in at least one of the soft mode position and the ultra-soft mode position by locking engagement of a hand-operated actuator.
  • the hand-operated actuator is a hand-operated actuator cable.
  • a piano key lift rail mounted for movement among a normal mode position spaced from lifting contact with piano keys of the set of multiple piano keys, a soft mode position disposed in contact with and lifting the piano keys along with the piano wippen assemblies, and a loud mode position disposed in contact with and lowering the piano keys along with the piano wippen assemblies; and a pedal linkage assembly in communication between the pedal and the hammer rest rail and the piano key lift rail, wherein actuation of the pedal causes movement of the hammer rest rail, along with the piano hammers, and causes movement of the piano keys, along with the piano wippen assemblies, among the normal mode position, the soft mode position, and the loud mode position.
  • the piano further comprises: a hammer rest rail lock arranged for securing the hammer rest rail in a position with the set of multiple piano hammers moved into at rest positions closer to or further from the corresponding piano strings (relative to the normal mode position); and the hammer rest rail lock comprises at least one foot pedal in the form of a dual-locking pedal mounted in a pedal travel slot, with a relatively lower notch at one side of the pedal travel slot for relatively soft mode, and a relative higher notch at an opposite side of the pedal travel slot for relatively less soft mode.
  • the two or more foot pedals include a left pedal having a hammer rest rail lock and a middle pedal having a hammer rest rail lock.
  • the piano further comprises: a hammer rest rail lock arranged for securing the hammer rest rail in a position with the set of multiple piano hammers moved into at rest positions closer to or further from the corresponding piano strings (relative to the normal mode position); wherein the hammer rest rail lock has multiple settings.
  • the hammer rest rail lock comprises is a hand-operated cable lock.
  • the piano further comprises: a hammer rest rail lock arranged for securing the hammer rest rail in a position with the set of multiple piano hammers moved into at rest positions closer to or further from the corresponding piano strings (relative to the normal mode position); wherein the hammer rest rail lock has a continuous range of settings.
  • the hammer rest rail lock comprises is a hand- operated cable lock.
  • Objectives of this disclosure include providing an upright or vertical piano in which gaps in the piano action causing undesirable touch sensation of "lost motion" for the piano player are reduced or eliminated.
  • the objectives may be are achieved with use of a soft mode pedal system having a soft mode pedal that actuates a hammer rest rail mounted for movement between a normal mode position, with a set of multiple piano hammers disposed at rest at a spaced distance from corresponding piano strings, and a soft mode position, with the set of multiple piano hammers moved into at rest positions relatively closer to the corresponding piano strings; and that actuates a piano key lift rail mounted for movement between a normal mode position spaced from lifting contact with piano keys and a soft mode position disposed in contact with and lifting the piano keys along with the piano wippen assemblies.
  • a soft mode pedal linkage assembly in communication between the pedal and the hammer rest rail and piano key lift rail, upon actuation of the soft mode pedal, causes movement of the hammer rest rail, along with the piano hammers, and causes movement of the piano key lift rail, along with the piano keys and the piano wippen assemblies, between the normal mode position and the soft mode position, in gap- closing motion.
  • gaps in the piano action causing undesirable touch sensation of "lost motion" for the piano player may be reduced or eliminated by use of a set of multiple bridle strap and bridle wire combinations, each bridle strap and bridle wire combination connecting a piano hammer to a corresponding piano wippen assembly, wherein the bridle strap and bridle wire combinations are mounted and/or adjusted to maintain the hammer assemblies and corresponding wippen assemblies together in gap-minimizing motion when an associated piano key is played.
  • the tensioned bridle strap is mounted in a manner such that the span (i.e., effective length between attachments at opposite ends) of the tensioned bridle strap is approximately constant between initial position and final position, and also during transition between initial position and final position.
  • the effectiveness and extent of the improvement in "lost motion" in different instruments, or even in the same instrument can be expected to vary, e.g., as a result of the skill, experience and habits of the player, the playing conditions, the environment, the level maintenance of the piano and its parts, etc.
  • FIG. 1 is a side section view of a conventional (prior art) upright piano with a soft pedal system.
  • FIG. 2 is a side view of a piano action of conventional (prior art) design in an unplayed position.
  • FIG. 3 is a side view of the conventional (prior art) piano action of FIG. 2 in a just-played position.
  • FIG. 4A is a side view of the conventional (prior art) piano action of FIG. 2 in a return from played position
  • FIG. 4B is a similar, somewhat enlarged, side view of the conventional (prior art) piano action of FIG. 4 A showing a gap between the jack and the butt.
  • FIG. 5 A is a side view of the conventional (prior art) piano action of FIG. 2 with the soft pedal depressed
  • FIG. 5B is a similar, somewhat enlarged, side view of the conventional (prior art) piano action of FIG. 5A, showing a gap between the jack and butt.
  • FIGS. 6A is a side view, partially in section of a first configuration of an extended soft pedal piano action of this disclosure including a rigid lift rail.
  • FIGS. 6B is a side view, partially in section of a second configuration of an extended soft pedal piano action of this disclosure including a rigid lift rail.
  • FIG. 7 is a front view of bottom portion of an upright piano including a rigid linkage system lifting an embodiment of the rigid lift rail of FIG. 6 A.
  • FIG. 8 is a close up view of a portion of the rigid linkage system of FIG. 7.
  • FIG. 9 is a front view of bottom portion of an upright piano including a rigid linkage system lifting an embodiment of the rigid lift rail of FIG. 6 A.
  • FIG. 10 is a close up view of a portion of the rigid linkage system of FIG. 9.
  • FIG. 11 is a front view of bottom portion of an upright piano including a rigid linkage system lifting an embodiment of the rigid lift rail of FIG. 6 A.
  • FIG. 12 is a close up view of a portion of the rigid linkage system of FIG. 11.
  • FIG. 13 is a portion of an embodiment of a rigid linkage system.
  • FIG. 14 is a side view, partially in section, of an extended soft pedal piano action of this disclosure including a rail, in an unplayed position
  • FIG. 15A is a side view of the soft piano action of FIG. 14 with the soft pedal depressed
  • FIG. 15B is a similar, somewhat enlarged, side view of the piano action of FIG. 15 A, showing a gap between the wippen assembly and the capstan.
  • FIG. 15C is a side view of the soft pedal piano action of FIG. 14 with the lost motion-producing gaps closed.
  • FIG. 16 is a top view of an upright piano including the extended soft pedal piano action of FIG. 14.
  • FIG. 17 is a side view, partially in section, of the extended soft pedal piano action of FIG. 14 including a lift rail spring assembly.
  • FIG. 18 is a detailed side view, partially in section, of the lift rail spring assembly of FIG. 17.
  • FIG. 19 is a detailed side view of an embodiment of the soft pedal piano action ofFIG 15C.
  • FIGS. 20A through 20J show alternative section views for the spring rail of the extended soft pedal piano action of FIG. 6A or FIG. 14.
  • FIG. 21 is a front view of a front (isometric) view of the bottom portion of an upright piano of the disclosure, including three foot pedals, with the middle pedal and left pedal in "up" positions, i.e. in Normal mode.
  • FIG. 22 is another front (isometric) view of a front view of the bottom portion of an upright piano of the disclosure, including three foot pedals, with the left pedal in depressed position, i.e. in Soft mode.
  • FIG. 23 is another front (isometric) view of a front view of the bottom portion of an upright piano of the disclosure, including three foot pedals, with the middle pedal in depressed position, i.e. in Ultra-Soft mode.
  • FIG. 24 is an isometric view of the bottom portion of an upright piano of the disclosure, including two foot pedals, with the left pedal is held in an axially-rotated, i.e. locked, position by a step in the case part.
  • FIG. 25 is a front view of the bottom portion of an upright piano, including three foot pedals, with the pedal in axially-rotated position and locked by a stopper surface member having adjustable height, e.g. by a technician using a screw driver.
  • a conventional upright or vertical piano 100 includes a series (or set) of piano keys 110 and corresponding piano actions 120 linked to rear segments 113 of the piano keys 110, which rest on a keyframe 115 attached to a keybed 116.
  • Each piano action 120 is actuated by depressing the exposed playing surface 114 of a corresponding key 110.
  • a series (or set) of (piano) hammer assemblies 130 includes rotatable piano hammers 135, each defining a forward throw direction, T, which are driven by corresponding wippen assemblies 150, and transmit forces applied upon the playing surfaces 114 of the corresponding keys 110.
  • Each piano hammer 135 is aligned to strike a corresponding piano string or group of strings 180 upon being thrown. For example, the hammer 135 may strike between one and three strings 180 to produce the desired tone of the corresponding depressed key 110.
  • each hammer assembly 130 includes a hammer 135 mounted at an upper end of a hammer shank 131, with the lower end of the hammer shank mounted to a butt assembly 136.
  • the butt assembly 136 includes a butt 137, a dowel 138 and a catcher 139.
  • Depressing or actuating piano key 110 causes a jack 154 of the associated wippen assembly 150 to push the butt assembly 136 of the hammer 135.
  • the jack 154 pushes the butt assembly 136, the butt assembly 136 and the hammer shank 131 are rotated in a forward throw direction, T, toward the piano string or strings 180 associated with the piano hammer 135.
  • the piano hammer 135 strikes the piano string(s) 180, indirectly producing an acoustic sound.
  • the keys 110 are in a rest position, as shown in FIG. 2 (e.g., when a player is not pressing the keys 110)
  • the hammers 135 remain in home positions, resting on a soft pedal or hammer rest rail 170 and/or the jack 154.
  • a thin, flexible tether termed "bridle strap” 140, links the corresponding hammer and wippen assemblies 130, 150 and restricts these assemblies from rotating apart.
  • bridle strap 140 links the corresponding hammer and wippen assemblies 130, 150 and restricts these assemblies from rotating apart.
  • one end of the bridle strap 140 is attached, e.g., permanently attached, to the hammer assembly 130 at the butt assembly 136.
  • the bridle strap 140 is connected to the butt assembly 136 at the junction of the dowel 138 and catcher 139.
  • conventional bridle straps 140 remain slack and do not lift the wippen assemblies 150. Referring to FIG.
  • the bridle strap 140 when the key 110 is unplayed, the bridle strap 140 is typically curved and slack as itjoins the hammer and wippen assemblies 130, 150, and it has an indeterminate span (or distance between ends).
  • the distance between the two terminations becomes smaller and the bridle strap 140 becomes relatively more relaxed (slack) to a minimum separation distance as the key is depressed, i.e., a bridle strap span smaller than the unplayed span.
  • FIG. 3 depicts the moment when key 110 has reached nearly full depression.
  • the key 110 has been pivoted about its central pivot point (P), lifting the wippen assembly 150.
  • This movement in turn, has rotated the hammer assembly 130 toward the piano string 180 located to the left of the hammer assembly 130 (not shown).
  • the flexible strap 140 is now noticeably more relaxed, i.e., the bridle strap span has decreased considerably from the initial span shown in FIG. 2.
  • the musician releases the key 110.
  • Key weights 112 associated with, e.g., embedded in, the rear segment 113 of the key cause the key 110 to immediately pivot, returning to its initial, unplayed position.
  • the wippen assembly 150 falls downward, while the hammer assembly 130 lags behind, in part due to its center of gravity being nearly vertical above its center of rotation.
  • the bridle strap 140 has served no function in the piano action. Only when the falling wippen assembly 150 tensions the bridle strap 140, which is at or near its maximum span, does the bridle strap activate and pull the hammer assembly 130 backward toward its rest position.
  • a temporary gap 145 opens between the jack 154 of the wippen assembly 150 and the butt assembly 136 of the hammer assembly 130 due to the time lag between the return motions of the two assemblies (i.e., the wippen assembly 150 and the hammer assembly 130).
  • the gap 145 causes an unwanted touch sensation, known as "lost motion", at the beginning of the next keystroke if the key is played again before the gap 145 closes. If a second keystroke is initiated at this point, i.e., during key release, a clear sense of lost motion can be detected as the new keystroke must cause the wippen assembly 150 to traverse the gap 145 before contacting the hammer assembly 130.
  • This temporary change in the feel of the piano action is near universally considered to be a negative characteristic specific to upright or vertical pianos.
  • the motion of hammer rest rail 170 in the direction of resting rail motion moves all of the hammer assemblies 130 upward and toward the piano strings 180.
  • the bridle strap 140 approaches a state of tension having a soft pedal span 146 (note its straightened attitude); however, the bridle strap 140 traditionally does not exert any lifting force on the lower wippen assembly 150.
  • the soft pedal position of the hammer assemblies 130, in this lifted position results in another occurrence of lost motion due to a gap 147 (FIG. 5B), produced between thejack 154 and the butt assembly 136.
  • the gap 147 due to the rotation of the hammer assemblies 130, is produced uniformly across the keyboard of vertical piano 100 when the soft pedal 160 is depressed.
  • hammer assemblies 130 rotate back to their original positions, restoring their longer travel distance and eliminating the lost motion gap 147.
  • the lost motion due to depression of soft pedal 160 has always been viewed as an undesirable but necessary compromise in the cost-limited upright or vertical piano action design.
  • the piano key action arrangement of the current disclosure reduces the unwanted feel of lost motion by closing, or even eliminating, the gaps 145 and 147 between the hammer and wippen assemblies 430, 450, and undesirable gap 249 between the capstans and wippen assemblies can also result in the unwanted feeling of lost motion when the soft pedal is depressed (see FIGS. 15A and 15B).
  • a key lifting assembly including a rigid key lift rail 400 is positioned beneath the key rear segments 413 and lifts the keys 410.
  • the rigid key lift rail 400 rotates around a fulcrum or pivot point 401.
  • the lift rail 400 supports the keys 410 in a manner to maintain the keys at least in close proximity to, or, more preferably, in contact with, the wippen assembly 450. This arrangement results in significant reduction, or elimination, of the gaps 249 and 147 that otherwise result in lost motion of the piano action 420 during playing of the piano.
  • At least three, e.g., four, five or more, co-linear pivot points 401 are located along the length of the piano keybed and act to support the rigid key lift rail 400 that contacts all eighty-eight keys 410.
  • the rigid key lift rail 400 is lifted or pivoted by a rigid linkage system 480 represented by force, F, in the drawing. As shown in FIGS 6A and 6B, force, F, can be applied either behind or in front of the key rears 413, as long as the rigid key lift rail 400 rotates to contact the key rears 413.
  • three collinear pivot points 401 distribute the lifting force, F, along the keybed, reducing flexure and ensuring that the rigid key lift rail 400 lifts all keys 410 by substantially the same distance.
  • the rigid lift key rail 400 is desirably inflexible, the rigid key lift rail 400 can lift all key rear segments 413 as well as the wippen assemblies 450, uniformly. This improvement may be achieved, e.g., by a reduction in flexure of the rigid rail 400, i.e. by employing multiple (in this
  • the rigid key lift rail 400 is lifted in the direction shown by the arrow, F, (FIGS.
  • contact between the rigid key lift rail 400 and the key rear segments 413 can be observed to cause the keys 410 to pivot, i.e., cause the front of the keys 410 to move downwards to some extent, e.g., 3-5 mm (or up to 2-7 mm in extreme adjustments) out of a total keystroke of about 10 mm measured at the front edge of the key, in response to the key rear segments 413 pivoting slightly upwards, depending on the magnitude of force, F.
  • the rigid key lift rail 400 can be lifted or pivoted by a spring force.
  • the spring force can provide all, or some, of the force, F, required to position the rigid key lift rail.
  • the linkage system 480 communicates the actuating motion (of the player's foot) applied upon the soft pedal 160 to the rigid key lift rail 400.
  • the piano configuration of FIG. 7 includes a linkage or hammer rest rail rod 165 that actuates the hammer rest rail 170 to pivot all eighty-eight hammer assemblies 430 upwards, closer to the strings 180.
  • the linkage system 480 also includes an additional piano key lift rail rod 466, positioned vertically inside the lower half of the piano case. In the implementation shown in FIG.
  • the bottom end of the piano key lift rail rod 466 rests on a soft pedal trap lever 462, while the top end pushes up on the rigid piano key lift rail 400.
  • force is transmitted along the soft pedal trap lever 462 to both the linkage or hammer rest rail rod 165 (which lifts the hammer rest rail 170 to pivot the hammer assemblies 430) and the piano key lift rail rod 466, which raises the rigid piano key lift rail 400, and with it, the piano key rear segments 413 and the wippen assemblies 450.
  • lift rod 466 can be adjusted for length via an in-line length adjuster 464.
  • the length adjuster 464 regulates the lifting height of the two rods 165, 466 independently of each other.
  • the length adjuster 464 is consists of a co-axial adjustment screw with a locking mechanism such as a locknut or friction threads, as is known in the art, and the linkage 165 and lift rod 466 are located longitudinally displaced (i.e., in succession) along the soft pedal trap lever 462.
  • the two rods 165, 466 are located at the same longitudinal distance from the soft pedal 160, and a second embodiment of the length adjuster 464 still permits the length of lift rod 466 to be adjusted independently of linkage 165.
  • the length adjuster 464 modifies the maximum lift height of the key lift rail, and can be adjusted after adjusting a nut (e.g., a wingnut) traditionally found on pianos for adjustment of the maximum lift height of the hammer rest rod.
  • the rigid key lift rail 400 lifts the wippen assemblies 450 as a group and removes lost motion during depression of soft pedal 160.
  • Precision configuration adjustment of each bridle wire 452 and bridle strap 440 combination, e.g. as described for prior implementations, is significantly less critical, and it is replaced by the global lifting of keys 410 and wippen assemblies 450 by the rigid key lift rail 400.
  • the traditional slack bridle strap 440' can be repositioned to a state of higher tension 440 by shortening and/or bending the traditional bridle wire 452' to the position of use, i.e., bridle wire 452.
  • a tightened bridle wire 452 and bridle strap 440 function to reduce dynamic lost motion (i.e., eliminate gap 145).
  • the rigid key lift rail 400 removes dynamic lost motion (i.e., eliminating gap 145), and also reliably removes static lost motion (i.e., gap 147) that occurs only in soft mode.
  • adjustment of the bridle wire/strap 452/440 can be simple and durable, without requiring precision or repeated adjustment.
  • the tensioning function can be achieved without precision adjustment.
  • the optimal height of bridle wire 452 (and also its angle and location) can be arranged during manufacture, instead of (or in addition to, if desired) during hand-regulation of the bridle wires 452 after the piano has been assembled, resulting in the advantages described herein.
  • Tensioning of the bridle wires 452 to specification can be performed during the standard regulation operation, with no additional regulating labor, or it may electively be foregone completely, relying instead entirely upon the soft pedal system of this disclosure.
  • a single rod 365 is mounted upon the soft pedal trap lever 462.
  • This single rod 365 is formed of two stacked rod segments 365a, 365b.
  • the lower rod segment 365a lifts the rigid key lift rail 400 and simultaneously lifts the upper rod segment 365b, which in turn lifts the hammer rest rail 270.
  • the rod 365 is configured such that upper rod segment 365b lifts only the hammer rest rail 270 while the lower rod segment 365a lifts both the upper rod segment 365b and the rigid key lift rail 400.
  • the gap-closing motion described above is achieved by both stacked rod segments 365a, 365b.
  • the length of upper rod segment 365b can be adjusted independently of the length of lower rod segment 365a.
  • a length adjuster 464 modifies the maximum lift height of the hammer rest rail, and can be adjusted after adjusting a nut (e.g., a wingnut) traditionally found on pianos for adjustment of the maximum lift height of the key lift rail and hammer rest rail.
  • the traditional nut e.g., wingnut
  • the traditional nut can first be used to adjust the maximum lift height of the hammer rest rail and the key lift rail, after which fixed length rod 365 can be rotated for final adjustment of the maximum lift height of key lift rail.
  • FIG. 13 shows a further implementation of this disclosure, in which a traditional soft pedal linkage 165 spans from the soft pedal trap lever 462 up to the hammer rest rail 270.
  • An appendage 385 positioned approximately two-thirds up rod 165 pushes upward on a short rod or linkage 390, which in turn pushes up on the rigid key lift rail 400, resulting in the gap-closing motion discussed above.
  • a piano action 220 in another implementation of an upright piano, includes a relatively more tensioned bridle strap 240 and bridle wire 252 combination, i.e., a piano action 220 in which one or both of bridle strap 240 and bridle wire 252 are tensioned, or at least relatively more tensioned, than in conventional (prior art) upright or vertical pianos.
  • the respective lengths of the bridle wire 252 and bridle strap 240 are chosen to maintain tensioning of the bridle strap 240 across the span between attachment of its respective ends to the bridle wire 252 and to the hammer assembly 230, with the span of the tensioned bridle strap being
  • the relatively more tensioned bridle strap 240 and bridle wire 252 combination also produces a striking addition to the function of soft pedal 260, reducing the unwanted feel of lost motion by reducing or eliminating the gap 147 (FIG. 5B) between the hammer and wippen assemblies 230, 250 when the soft pedal is depressed. Since the bridle strap 240 is now at least close to tension in rest position (as shown in FIG. 14), during the raising of the hammers 235 with the soft pedal 260, the hammer and wippen assemblies 230, 250 remain in gap-closing proximity to, or in engagement with, each other at all times.
  • the relatively more tensioned bridle strap 240 and bridle wire 252 combination depressing the soft pedal 260 rotates the hammer rest rail 270 and hammer assemblies 230, as in the traditional design (e.g., in the direction of motion 275).
  • the relatively more tensioned bridle strap 240 and bridle wire 252 combinations lift the wippen assemblies 250 in tandem with the hammer assemblies 230, removing all the weight of the piano action 220 from the keys 210.
  • the bridle strap 240 remains close to or in tension throughout motion of the piano action 220 (i.e., span 246 remains relatively unchanged during movement of the action 220).
  • the soft pedal bridle strap span 246 is relatively unchanged from the bridle strap span 243 in normal mode (see FIG. 14).
  • the keys 210 have key weights 212 in the rear segment 213.
  • the vertical piano keys do not apply upward force against the hammer and wippen assemblies 230, 250, and so the presence of any lost motion, due either to use of the soft pedal 260 or to the playing of rapid, repeated keystrokes, is not mitigated by the keys.
  • the keys 210 may not include weights 212, and thus may be unweighted in either the front or rear segments of the keys.
  • an undesirable gap 249, between capstans 211 and wippen assemblies 250, can also result in the unwanted feeling of lost motion when the soft pedal 260 is depressed.
  • a key lifting assembly including a lightly sprung lift rail 300 is positioned beneath the key rear segment 213.
  • This lift rail 300 is mounted for movement in a direction of lift rail action (arrow 302) between a first position, preferably touching the bottom surface of, but not lifting, all 88 keys, and a second position, in which the lift rail 300 pivots (or otherwise moves) to lift the key rear segments 213, causing them to follow the motion of the wippen assemblies 230, thereby eliminating lost motion. Since the keys 210 pivot very easily, only a light spring force is applied by the lift rail 300 of the present disclosure, which therefore does not intrude on the touch characteristics of the piano action 220.
  • the action 220 of the piano 200 of this disclosure is shown with the soft pedal 260 depressed and the lift rail 300 engaged.
  • the lift rail 300 supports the keys 210 in a manner to maintain the keys in at least close proximity to, or in contact with, the wippen assembly 250.
  • the combination of the lift rail 300 with the relatively tensioned bridle strap 240 and bridle wire 252 combination maintains contact between the keys 210 and the wippen assembly 250, and between the jack 254 and the butt assembly 236.
  • the span 246 of the bridle strap 240 and bridle wire combination remains generally constant, including at the start and end points of, and during, travel. This design results in significant reduction, or elimination, of the gaps 249 and 147 resulting in lost motion of the piano action 220 during playing of the piano.
  • FIG. 16 the key and keybed area of an upright piano 200 of this disclosure is shown in a top view, including keys 210 and the playing surfaces 214 of the keys.
  • the keys 210 rest on a supporting keyframe 215, which is supported by a keybed 216.
  • the lift rail 300 (shown in cross section in FIG. 15 A) spans the eighty-eight keys 210 of the upright piano, beneath the rear segments 213 of the keys 210.
  • Two or more lift rail spring assemblies 310 which are also part of the key lifting assembly, are located at various selected positions beneath the keys along the length of the keyboard to provide force sufficient to lift the keys 210.
  • the lift rail spring assemblies 310 can be located near the first key and the last keys, such as at position(s) 218.
  • the lift rail spring assemblies 310 can be located at other positions along the keys, such as at one quarter and at three quarters along the length of the keyboard, or at one third and two thirds along the length of the keyboard.
  • the embodiment as shown in FIG. 16 can have contact points as position(s) 218, or have three or more contact positions.
  • key 210 is shown in cross section above the rail spring assembly 310, in an unlifted position.
  • the key 210 (and each of the keys 210) rests against the lift rail 300.
  • Each lift rail spring assembly 310 is fastened (e.g., with screws countersunk into holes 217 provided in keybed 216) into position (e.g., position 218, as shown in FIG. 8).
  • An adjustment member, e.g. a knob, 314 is provided for raising (and/or lowering) the set position of the lift rail 300, and therefore of the keys 210, upwards (and/or downwards), thereby increasing (and/or decreasing) the lift force applied by the rail spring assembly 310.
  • adjustment member 314 can be, e.g., a thumb screw, an Allen bolt adjustable by wrench, a screw adjustable by a screwdriver, or other suitable rotatable threaded or otherwise adjustable member.
  • the lift rail spring assembly 310 consists of four portions: a knob portion 312, a keybed embedded portion 322, a keybed recess portion 332, and a lift rail portion 342.
  • An assembly hole 219 at the base of the assembly countersink 217 of the keybed 216 fixedly receives a threaded insert 324.
  • a machine screw 318 is threaded through the threaded insert 324 in the assembly hole 219, such that the machine screw 318 extends both below the keybed 216 and above, within the assembly countersink 217.
  • a user wishing to adjust the relative lifting force of the lift rail 300, loosens locknut 320, advances or retracts the adjustment knob 314 (secured by locknut 316) attached to a bottom end of the machine screw 318, and then re-tightens locknut 320.
  • Advancing or retracting the machine screw 318 i.e., relative to threaded insert 324 and locknut 320 changes the position of the machine screw 318 relative to the keybed 216. For example, advancing the machine screw 318 causes the machine screw 318 to move upwards, along with the components of the keybed recess portion 332 accommodated in the assembly countersink 217.
  • the keybed recess portion 332 includes a compression spring 338 coaxially arranged about a screw 340 and resting at either end on a spring cap 336 (the spring cap 336 at the lower end being secured by locknut 334).
  • the lift rail 300 rests against the upper spring cap 336, and supports the keys 210 above, which rest on a suitable cushioning material 344, such as a felt or foam piece at an upper surface of the lift rail 300.
  • the biasing properties of the spring 338 are chosen such that the spring 338 exerts a force sufficient to lift the combined weight of the lift rail 300 and the keys.
  • the force exerted by the spring 338 causes the lift rail 300 to maintain contact with and push upwardly on the key 210, causing the key in turn to remain in close proximity to, or engagement with, the wippen assembly 250, and the hammer assembly 230.
  • a piano user or owner may elect to adjust the position of the lift rail 300 and/or the force exerted by the spring 338, e.g., when the piano 200 is manufactured, or at some later point during the life of the piano.
  • the key lifting assembly is positioned to be sitting on the keybed 216 (not supported by the springs 338), with the lift rail 300 out of engagement with the bottom surfaces of the keys 210.
  • the user then presses and holds the soft pedal 260, thereby lifting the hammer rest rail 270 and the hammers 235. Since the bridle straps 240 are tensioned, the wippen assemblies 250 are lifted along with the hammers 235, and the lost motion-producing gaps 249 appear.
  • the user continues to hold the soft pedal 260 while turning the adjustment knobs 314 that control the embedded portion 322 of the lift rail 300 supporting the compression springs 338.
  • Adjustment knobs 314 raises the embedded portion 322, which raises and compresses the springs 338, which raises the lift rail 300.
  • the lift rail 300 As the lift rail 300 is raised, it lifts the keys 210 and closes the gaps 249.
  • the user While holding the soft pedal 260, the user continues to raise the lift rail 300 (by turning the knobs 314) until the gaps 249 under all 88 keys are closed. At this point, the lost motion gaps produced between the key capstans 211 and wippen assemblies 250 are gone.
  • a different protocol may be employed.
  • the user turns the adjustment knobs 314 located beneath the keybed to raise the spring rail assembly 310 upward (relative to the rail 300).
  • the user then turns the adjustment knobs 314 in the opposite direction until the affected hammers are no longer lifted.
  • the lock nuts are then retightened to secure the adjustment.
  • bridle straps 240 that are relatively longer or shorter than is typical in the prior art and/or bridle wires 252 that are relatively longer or shorter than typical in the prior art may be employed.
  • the distribution of mass in the piano wippen assemblies 250 may also be rearranged or otherwise modified in a manner to urge or favor movement of the piano wippen assemblies acting under the force of gravity to rotate in the forward throw direction (arrow T, FIG. 3).
  • other means e.g. mechanical, magnetic, or electromechanical linkages or the like, may be employed to impart upward lifting, downward pushing, or rotational forces in a manner to cause the piano wippen assemblies 250 to move with the piano hammers when the soft pedal is depressed.
  • this can include one or more downward-pushing elements engaging the forward segment of keys 210, producing rotational motion about the pivot point, P (shown in FIG. 3), e.g. by engagement with upper surfaces of the keys, or by application of attractive or other forces to the forward or the rear segments of the keys, e.g., produced by light-weight magnets embedded in the keys, or electromagnetically attractive materials embedded in the keys for interaction with one or more magnetic elements in the keyframe 215 or keybed 216.
  • Distribution of mass in the piano keys 210 may also be rearranged or otherwise modified, e.g. to shift the weight balance toward the front segments of the piano keys.
  • lost motion may be reduced by adjustment of positioning of the upper end portion of the bridle wire 253 to which the associated end of the bridle strap 240 is pinned, e.g. by bending the body or a portion of the body of the bridle wire 253 (typically towards the player), and/or by adjusting, e.g. lengthening or shortening, the body of the bridle wire 253.
  • the force exerted by the tensioned bridle strap 240 and bridle wire 252, in combination with the biasing force exerted by spring 338 when the piano is used in soft mode, can reduce or eliminate lost motion induced by separation of the elements of the piano key action.
  • the soft pedal design of the present disclosure thus improves the normal mode of performance in the upright or vertical piano action by improving its touch characteristics to more closely resemble those of a grand piano.
  • combining one or more of the above-described techniques and devices can result in an upright piano with improved lost-motion characteristics.
  • the bent bridle wire 253 with a relatively shortened bridle wire 252 and shortened bridle strap 240, and the lift rail 300 are all shown employed in the piano 200.
  • the variations of the span of the bridle strap 240 can result in differing reductions
  • the gap may be reduced to less than 3 mm, e.g., to less than 2 mm, or to less than or equal to 1 mm.
  • use of only a bent bridle wire 253 may reduce lost motion in normal mode by up to 60 or 70%, and use of a bent bridle wire 253 and a lift rail 300 may reduce lost motion by 60% to 70% in normal mode and in soft pedal mode.
  • the lift rail 300 may have suitable cross sections other than a rectangular bar.
  • lift rail 300 may have a cross-section configured as an I-beam 352, a C-channel 354, a rectangular tube 356, a rectangular bar 358, a square tube 360, a square bar 362, an N- channel 364, a U-Channel 366, a round tube 368, round bar 370, or any other suitable configuration.
  • the lift rail 300 may be formed of metal, plastic, wood, or other suitable material.
  • the rigid key lift rail 400 can have various cross sections as shown in FIGS.
  • 20A-20J and be formed of metal, plastic, wood, or other suitable material.
  • the rigid key lift rail 400 may be integrated into a back portion of the keybed 216. In this instance, a portion of the keybed 216 becomes a liftable surface.
  • the rigid lift rail 400 lift mechanism can include a sectional adjustment for adjusting the key lift rail height separately in different sections of the piano.
  • a sectional adjustment for adjusting the key lift rail height separately in different sections of the piano For example, one long key lift rail base with three short key lift rail cap sections can each attached to the base with two screws. The heights and angles of the three caps could be adjusted independently.
  • a piano has a set of multiple bridle strap and bridle wire combinations.
  • Each bridle strap and bridle wire combination connects a piano hammer to a corresponding piano wippen assembly, and the bridle strap and bridle wire combination are mounted and adjusted to maintain the hammer assembly and its corresponding wippen assembly together in gap-minimizing motion when an associated piano key is played.
  • the piano may further include a soft mode pedal system, e.g. as has been described.
  • the pianos of this disclosure e.g., as described above, may incorporate other implementations of the improved soft mode pedal system having other functional features.
  • the new implementations may include an ultra-soft middle pedal function, a two-function middle pedal mechanism, e.g., and/or a variable piano keydip concept.
  • FIGS. 21-23 showing a front view of the bottom portion of an upright piano, indicated generally at 500.
  • the piano has a middle pedal 502 and a left pedal 504 linked to the same (soft mode pedal) trap lever 506 as shown, e.g., in the drawings.
  • the right pedal 508 performs a traditional damper function.
  • the middle pedal 502 can be piggy-backed on the improved (left) soft mode pedal 504, extending it to a deeper (softer) level.
  • the improved (left) soft mode pedal 504 extending it to a deeper (softer) level.
  • the middle pedal 502 is mounted to be depressed further (indicated, e.g., by arrow, D), which lifts the rigid key lift rail 400 (see, e.g., FIG. 12) positioned beneath the key rear segments 413 to lift the pianos key rear segments 413 relatively higher (indicated by arrow, H). It also lifts the hammer rest rail 270 to rotate the piano hammers 230 relatively closer to the strings 180 (indicated by arrow, J). The combination results in relatively shallower key dip (discussed below) and therefore a relatively quieter tone. Depression of the left pedal 504 (indicated by arrow, I, shown in FIG. 22) results in a medium soft level of sound, while depression of the middle pedal 502 (indicated by arrow, F, shown in FIG. 23) results in a relatively more quiet level of sound.
  • the improved soft mode pedal 502 and the ultra- soft middle pedal 504 both have obvious musical uses; namely, they can be pressed to achieve comparatively softer levels of tone when playing softer passages of music.
  • one or both of the soft mode pedal 502 and the ultra-soft mode pedal 504 has a built-in locking mechanism 510.
  • the locking mechanism 510 permits an additional option for playing the piano in a different fashion, i.e., with the piano 500 locked in improved soft mode, or in ultra-soft mode, for an extended period of time, e.g. in ultra-soft mode, thereby allowing the piano 500 to be played without disturbing apartment neighbors or a sleeping baby.
  • the two- function pedal thus permits the piano to be selectively used in either of: (1) a
  • “Debussy” mode i.e., with operation of the improved soft mode pedal 504 used to achieve a musical effect
  • an “Apartment mode” i.e. with the ultra-soft mode pedal 502 engaged for extended periods or continuously, e.g., like a mute pedal
  • the locking of the two-function pedal arrangement is achieved by providing a second (vertical) pivot axis, X, for the pedal 504, creating a wider pedal travel path (e.g., represented by arrow, Y) near the bottom of the pedal stroke.
  • the pedal 504 is locked in depressed position by a vertical stop surface 512 defined by a step 514 in the piano case part 516 positioned, e.g. to the right and/or to left of the main pedal travel path.
  • This function could also be included for pedal 502.
  • a vertically adjustable element 519 is disposed for locking engagement with middle pedal 502 in its axially-deflected position.
  • the position of surface 518 is adjustable vertically, e.g. by a piano technician, by rotation of an adjustment member 520, e.g. a screw.
  • variable keydip relates to the height difference at the front of the key, between an "at rest” position (AR) and a “fully depressed” position (FD).
  • AR at rest
  • FD "fully depressed” position
  • Different people e.g. at different points in time, may have different preferences for the amount of keydip provided in a piano.
  • modern pianos tend to be constructed with relatively more keydip (e.g., 0.400 inch), as compared to pianos of a century ago, when relatively less keydip (e.g., 0.375 inch) was the norm. Children also sometimes prefer less keydip, because it is makes playing easier for their smaller hands. Referring also to FIG.
  • an additional feature of a piano 500 of the present disclosure and the improved soft mode pedal system (and the new ultra-soft mode pedal system) is that when the left pedal 504 (or middle pedal 502) is depressed, the associated keydip is reduced. To a historically -minded pianist, this reduced keydip will make the piano 500 seem more like a historic instrument. To a child (or to a weary adult), this adjustment will make the piano seem easier (and less tiring) to play.
  • a two-function pedal with one stop setting (e.g., a locking notch 514 (FIG. 24) or a vertical stop surface 518 (FIG. 25)) provides two key dip settings.
  • an alternative mechanism may be provided, with additional discrete lock settings (e.g., additional particular locations where the pedal can be locked), or with continuous lock settings over a range (e.g., provided by means of with a hand-operated knob connected to a cable for that moves the improved soft mode pedal linkage system.
  • the piano keys 410 rest on the rigid key lift rail 400 as well as a back rail.
  • the rigid key lift rail 400 when at rest is positioned lower than the stationary back rail.
  • the key rears 413 rest at all times on the key lift rail, and a back rail is eliminated. Removing the back rail, as is found in traditional pianos, removes a redundant part and increases simplicity of construction. Removal of the back rail also permits use of the extended soft pedal system to create a 'loud mode.' In loud mode, the back rail is absent, allowing the key rears 413 to fall lower than traditional back rail height.
  • Loud mode can be activated by the same, or different pedal used to active soft mode or ultra-soft mode.
  • Example 1 A piano having a three-pedal configuration:
  • the left pedal is an improved Soft Mode pedal
  • the middle pedal is an Ultra-Soft Mode pedal
  • the right pedal is a traditional Damper pedal.
  • This piano thus permits use in both "Debussy” (selective Soft) mode and in "Apartment” (extended Ultra-Soft) mode.
  • Example 2 A piano having a two-pedal configuration:
  • the left pedal is an improved Soft Mode pedal with lock, so that the piano can be used in both "Debussy” mode and in almost “Apartment” (improved Soft, but not Ultra-Soft) mode.
  • the right pedal is a traditional Damper pedal.
  • Example 3 A piano having a two-pedal configuration, with hand-operated lock:
  • the left pedal is an improved Soft mode pedal without lock, so that it can be used in both "Debussy” mode and in almost “Apartment” mode.
  • the right pedal is a traditional Damper pedal.
  • Example 4 A piano having a three-pedal configuration:
  • the piano is generally as described with respect to the two-pedal configurations above, with the addition of a Middle pedal for some other use, e.g., sostenuto, felt mute rail, electronic control switch, etc., and with (or without) a hand-operated lever/cable system with lock.
  • a Middle pedal for some other use, e.g., sostenuto, felt mute rail, electronic control switch, etc., and with (or without) a hand-operated lever/cable system with lock.

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

Abstract

Un piano sur lequel on peut jouer de manière sélective en modes normal et sourdine comprend de multiples touches et mécanismes de piano, notamment un ensemble chevalet, et de multiples marteaux de piano. Un système de pédales en mode sourdine comprend des pédales en mode sourdine et ultra-sourdine, et une barre d'arrêt des marteaux montée de manière à passer entre les positions des modes normal et sourdine. Une barre de levée de touches de piano est montée de manière à passer entre une position du mode normal espacée d'un contact de levée avec les touches et une position du mode sourdine en contact avec les touches et les ensembles chevalet et permettant de les soulever. Un ensemble de tringlerie de pédales en mode sourdine entre les pédales en modes sourdine et ultra-sourdine et les barres d'arrêt des marteaux et de levée des touches de piano provoque le mouvement de la barre d'arrêt des marteaux, des marteaux du piano, des touches du piano et des ensembles de chevalet lors de l'actionnement de la pédale en mode sourdine entre la position du mode normal et les positions des modes sourdine et ultra-sourdine.
PCT/US2016/027525 2015-06-12 2016-04-14 Sourdine étendue de piano WO2016200483A1 (fr)

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EP16807956.4A EP3308375B1 (fr) 2015-06-12 2016-04-14 Sourdine étendue de piano
CN201680046835.8A CN108028039B (zh) 2015-06-12 2016-04-14 钢琴扩展柔音踏板

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US201562174766P 2015-06-12 2015-06-12
US62/174,766 2015-06-12
US14/851,234 2015-09-11
US14/851,234 US9343044B2 (en) 2013-10-03 2015-09-11 Piano extended soft pedal

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CN108028039B (zh) 2022-01-21
EP3308375A4 (fr) 2019-02-20
EP3308375B1 (fr) 2020-07-29
EP3308375A1 (fr) 2018-04-18
CN108028039A (zh) 2018-05-11

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