Ekstrom Peter
Musical resonator mounting structure2010-02-26 00:00:00AbstractA musical resonator mounting arrangement includes a resonator unit, a support plate, a coupling plate having one end fastened to the support plate and an opposite end connected to an end plate of the resonator unit by a connecting plate, a clamping unit controlled to secure the support plate to a musical instrument, enabling corrugated metal wires of the resonator unit to be retained in contact with the musical instrument, and an adjustment screw fastened to the support plate and the coupling plate at one end and screwed up with an adjustment nut for adjusting the contact pressure between the musical instrument and the corrugated metal wires of the resonator unit.Claims
What the invention claimed is:
1. A musical resonator mounting structure comprising:
a resonator unit, said resonator unit comprising an end plate and a plurality of corrugated metal wires connected in parallel to said end plate;
a connecting plate, said connecting plate having an oblique middle portion, a first horizontal connecting portion extended and a second horizontal connecting portion respectively extended from both ends of said oblique middle portion, said first horizontal connecting portion being fixedly connected to said end plate of said resonator unit;
a resilient holding down unit, said resilient holding down unit comprising an resilient coupling plate having a first end fixedly fastened to the second connecting portion of said connecting plate and a second end, a support plate having a fixed end fastened to the second end of said resilient coupling plate and a free end spaced below the first end of said resilient coupling plate, an adjustment screw fastened to the free end of said support plate and the first end of said resilient coupling plate, an adjustment nut threaded onto said adjustment screw to secure said adjustment screw to said support plate and said resilient coupling plate, and a spring mounted around said adjustment screw and stopped between said support plate and said resilient coupling plate, said spring imparting an outward pressure to push the first end of said resilient coupling plate outwards from the free end of said support plate; and
a clamping unit for securing said support plate and said resilient coupling plate to a musical instrument, enabling the corrugated metal wires of said resonator unit to be maintained in contact with the musical instrument; and
wherein said support plate is a L-shaped plate having a vertical portion at one end and a horizontal portion at an opposite end; said resilient coupling plate is a L-shaped plate having a vertical portion at one end fixedly fastened to the vertical portion of said support plate, and a horizontal portion at an opposite end vertically spaced from the horizontal position of said support plate at a distance; and wherein said clamping unit comprises an elongated slot on the horizontal portion of said support plate, a clamping plate coupled to the elongated slot on said support plate, said clamping plate having a clamping wall at one end remote from said support plate, a screw inserted through a hole on said clamping plate, a hole on the vertical portion of said support plate and a hole on the vertical portion of said resilient coupling plate, two side flanges bilaterally raised from the vertical portion of said support plate, a spring mounted around the screw of said clamping unit and stopped between said clamping plate and said support plate, and a wing nut threaded onto the screw of said clamping unit to pull said clamping wall of said clamping plate toward said side flanges, enabling said side flanges and said clamping wall of said clamping plate to be clamped on two opposite sides of a bottom counterhoop of a drum.
2. The musical resonator mounting structure of claim 1, wherein said resilient coupling plate of said holding down unit has an oblique middle portion, a horizontal top end portion and a horizontal bottom end portion respectively extended from two opposite ends of the oblique middle portion of said resilient coupling plate in reversed directions, the horizontal top end portion of said resilient coupling plate being fastened to said connecting plate, the horizontal bottom end portion of said resilient coupling plate being fastened to the fixed end of said support plate; said support plate is a flat plate having a fixed end attached to the horizontal bottom end portion of said resilient coupling plate, and a free end suspending below the horizontal top end portion of said coupling plate; said adjustment screw is inserted through a hole on said support plate and a hole on the horizontal top end portion of said coupling plate and screwed up with said adjustment nut.
3. The musical resonator mounting structure of claim 2, wherein through holes are respectively provided at the horizontal bottom end portion of said coupling plate and the fixed end of said support plate through which a cymbal stand is inserted and screwed up with a lock nut to hold a cymbal, enabling the corrugated metal wires of said resonator unit to be retained in contact with said cymbal.Description
BACKGROUND OF THE INVENTION
The present invention relates to a musical resonator mounting structure, and more particularly to such a musical resonator mounting structure which can be conveniently mounted on a musical instrument, an...
14: Buying a cell phone - know your rights
2010-02-24 00:00:00If you buy a mobile phone handset and/or contract over the phone, online, or by mail order, you have some rights that you would not otherwise have if you had bought it from a shop. If you have an issue with the company that provides your mobile service, then you have the right to make a complaint to an independent ombudsman or arbitrator. This is a free service, and they could help to resolve any issues you may be having.
Phone service contracts that have been bought online, over the phone, or by mail order can be cancelled and a full refund demanded up to seven working days after the placement of the order. You do not have to give any r...
for the sliders? I wanted to do2010-02-22 00:00:00so how did you make the slots for the sliders? I wanted to do this but my dremel doesn't have a rtangular drill bit
My original mixer had sliders and as you suggested Iked up all the holes, so I ended upoating the whole front panel with a thin layer of plastard andutting the slider holes out with a alpel Sorry no photos,it was repled by a Sounraft notebook and the sliders were reled into another projt.
Hi,First i would like to say hi to everyone and hope is all well.I have alass nord lead for ...
and Equment2010-02-21 00:00:00index Instruments and Equment » Modular Synthesis
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Hello DIY Friends,I'm (still) in the press of building my DIY modularonsisting mostly of MFOS andGS modules. I'm building my power supply and I was instrted to use "slow blow fuses." For the life of me Ian't find .75amp slow-blows. I did happen to find some .75amp fast ting fuses. Do yo...
system from period tohaot2010-02-20 00:00:00Step s => d;440.0 => float freq;float index;1 => int dirtion;while(samp => now){ 2 * dirtion * freq +=> index; if (Math.fabs(index) > sondsamp) -1 *=> dirtion; index 48000 => s.next; }
jukka_kJoined: Sep 17, 2008: 22Lation: Finland
Thanks guys of these great adves, and kijjaz ofodes, I will definetely try them ! I've studied this system, a logist map, inhK like thisode:
Varying parameter ahanges the system from period tohaot, there is som...
If youlk through and buy2010-02-11 00:00:00Please support our site. If youlk through and buy from our affiliate partners, we earn a smallommission.
The following is a list of over 3600 titles rorded from myolltion of 78 rpm rords. Many of them are linked to MP3 files and will play what was rorded. No sound enhaement, just what was rorded. I hope to eventually have all the titles linked to mus files, though that might take a while. Right now, there are 3,060 titles on this page linked to mp3's.
Th...
using the steps I2010-02-10 00:00:00fJoined: D 08, 2007: 88Lation: MexoG2 pah files: 1
Well, in thisase, if I press the key and then release it, the note goes off. The problem is that sporadally, the G# note will be triggered without even tohing the keyboard, and it will stay on. tually, to turn it off Ian just press the key and release it.I don't know if this qualifies as a "stky key", but it'sertainly a strange and annoying problem. Sometimes I'm playing something and the G# will suddenly sound.This is the G#on the sond tave, whh isn't near the power transformer. The G# on the third tave is right in front of the transformer but that key is fine I turned Lal Off for a while and the problem seemed to disappear, so I'm 95% sure it's a mhanal keyboard problem._________________My mus: c...
really feltomfortable rording 2010-02-08 00:00:00In the Studio Proders and Engineers Th Mastering Session PhotosAsk an Expert Publishing and Royalties Promotion John Fry Jody Stephens Joel GradingerArdent Rords Todd Agnew Joy Whitlk SkilletArdent U. Bass of a Home StudioGeneral Big Star Guy Sebastian The Great Debaters Stax Rords Mus Events Miellaneous Ardent Sessions
MakeshiftyAsk about Guy Sebastian and you'll get a thesis!! Tina Turner has been my superstar for many years. In 2003 Guy Sebastian bame my 2nd superstar.Iidentally he's sold over 1,000,000ds here. onvert that to a USAustralian populationomparison and youanaulate why Guy has justly earnt the title 'superstar'Guy Sebastian rording at Ardent Studios in Memphis blows my mind.
Thanks to Heather at Guy's offial forum for this great artle:Inside Guy's SoulBy DANIELLE O'DONOHUEWhen planning album number four, Guy Sebastian felt the urge to dive into thelass Staxatalogue. He's eited about the dision, as DANIELLE O'DONOHUE diovers.SOUTH Australia's favourite Idol Guy Sebastian has always had soul but fans have only ever been given glimpses into that side of the singer. A rent tr to Memphis in the U.S. has finally given Sebastian theonfidee to bome a Soul Man, j...
Electrical musical instrument amplifier having improved tremolo circuit, improved reverberation control, and power reduction circuit for distortion mode operation2010-02-06 00:00:00AbstractAn electrical musical instrument amplifier is disclosed in which a signal which has been provided by an instrument to a second one of two different preamplifiers for amplification therein is passed to one of the inputs of a summing amplifier together with the output of the first preamplifier, the output of the summing amplifier being coupled through a tube driven power amplifier to a loudspeaker system. The amplified signal from the second preamplifier is applied to a second input of the summing amplifier via a circuit arranged as a voltage divider and having a variable resistance provided by a field effect transistor driven by an oscillator. The modulation provided by the field effect transistor and associated oscillator can be adjusted to provide total phase reversal as well as amplitude modulation when combined with the signal at the output of the second preamplifier, to provide a tremolo or vibrato effect. Improved reverberation control is provided by a control common to the volume controls of both a delayed reverberation signal from the second preamplifier and the combined signal which results when the instrument signal from the second preamplifier is combined with the delayed reverberation signal. The power amplifier can be operated...
Stringed musical instrument2010-02-05 00:00:00AbstractA musical instrument of the stringed kind having a hollow sound box formed of a top plate, bottom plate and side walls. A string supporting bridge is mounted on the top plate and has two feet which are spaced apart transversely of the instrument. A sound post extends between the top and bottom plates and is connected to one foot of the bridge through an opening formed in the top plate. The opening and the connection are related so that there is no impediment to movement of the top plate in the region of the opening. By way of example, the post may extend through the opening to effect the connection with the bridge foot, in which event clearance will be provided between the post and the opening.Claims
I claim:
1. A musical instrument of the stringed kind including, a sound box having top and bottom plates which are spaced apart, a string supporting bridge positioned over the top plate and having one of two opposite ends connected to said top plate, said one end being adjacent the string of said instrument of highest pitch, a sound post extending between said top and bottom plates and having a lower end connected to said bottom plate, an opening in said top plate, a connection between an upper end of said post and the other said end of the bridge such that said end is supported by the upper end of the post, said connection being effected through said opening and arranged so as to not impede movement of the top plate towards and away from the bottom plate, a bass bar connected to the underside of said top plate and extending transverse to said bridge, said bass bar being located so that said one end of the bridge is located between the bass bar and the sound post and is spaced from the bass bar, and a tension member extending across the undersurface of said top plate in substantially the longitudinal direction of said bridge and having each of two opposite ends secured to said top plate at locations beyond the ends of said bridge.
2. An instrument according to claim 1, wherein an upper end portion of said post extends through said opening so as to effect said upper end connection, and clearance exists between said opening and said upper end portion.
3. An instrument according to claim 2, wherein a flexible annular diaphragm extends across said clearance to close said opening without inhibiting movement of said top plate relative to said post.
4. An instrument according to claim 1, wherein said upper end connection is such that relative angular movement is permitted between said upper end of the post and said other end of the bridge.
5. An instrument according to claim 1, wherein said connection involves direct engagement between said post and said bridge.
6. A musical instrument according to claim 1, wherein said tension member is located directly beneath said bridge and has an aperture therein through which said sound post extends with clearance.
7. An instrument according to claim 1, wherein an end of said tension member is attached to said bass bar.
8. An instrument according to claim 1, wherein said lower end of the post is connected to the bottom plate through a flexible post supporting lever which extends transverse to said post, one end of said lever is attached to said sound box and an opposite end portion thereof is engaged by the lower end of said post, a fulcrum is connected to said bottom plate, and said lever extends over said fulcrum and engages the fulcrum at a location between said post and said one end of the lever.
9. An instrument according to claim 1, wherein said one end of the bridge is connected to said top plate through a flexible bridge supporting lever which extends transverse to said post and is located within said sound box.
10. A musical instrument according to claim 1, wherein a further bass bar is connected to the undersurface of said top plate, said further bass bar extending substantially in the same direction as the first said bass bar, and said further bass bar is located so that said other end of the bridge is positioned between the two said bars and is spaced from each.
11. An instrument according to claim 10, wherein there are two f-holes in said top plate and each is located adjacent a respective longitudinal side of said sound box, and there are two said bass bars, each of which is located adjacent a respective said f-hole.
12. A musical instrument according to claim 10, wherein each said end of the said tension member is connected to a respective one of said bass bars so as to be thereby secured to said top plate.
13. A musical instrument according to claim 1, wherein two f-holes are formed in said top plate adjacent respective opposite sides of said instrument and each said f-hole is located between the adjacent said side and a respective adjacent end of said tension member.Description
BACKGROUND OF THE INVENTION
This invention relates to musical instruments of the stringed kind. By way of example, the invention is applicable to musical instruments such as the violin, viola, cello, bass, guitar and mandolin. It will be convenient, however, to hereinafter describe the invention with particular reference to violins.
Violin manufacture is a highly specialised art requiring the use of special timbers and the application of special skills which require many years to achieve. As a consequence, the violins of only a few manufactures are recognised as satisfactory for use by concert musicians, and those violins are extremely expensive. Even violins of lesser quality, however, are expensive because of the care and time involved in their manufacture.
The quality of sound derived from a particular violin rests largely on the skill with which certain internal components have been manufactured and installed. Those components include a bridge support bar and a sound post. The bar is usually called the bass bar and is secured to the underside of the top plate or belly of the sound box of the instrument so as to extend longitudinally of the instrument. The bar is of relatively heavy section and is positioned under the foot of the bridge which is adjacent the "G" string, or the string of lowest pitch. The sound post is generally a slender rod of round cross-section which is wedged between the top and bottom plates of the sound box at a location beneath the foot of the bridge which is adjacent the "E" string, or the string of highest pitch.
Each of the two components mentioned above must be manufactured of suitable material, formed to a correct size, and accurately located within the sound box in order to enable the instrument to generate quality sound. Substantial skill is required to achieve those objectives.
Due to the construction of the traditional violin, the top and bottom plates are forced to move in a very complex manner when activated by the strings of the instrument. For this reason, correct selection of the timber for those plates is very critical. The standard manufacturing dimensions of violins have been perfected over a period of 400 years and those dimensions apply to produce satisfactory results only if a timber of a very specific kind is used. That type of timber has always been in limited supply, but it is now becoming increasingly difficult to secure and that which is available is often of poor quality ...
