length of_tags
Simulated musical rainmaker2010-03-30 00:00:00elongated-core-baffle means is loosely disposed in an interior of said hollow casing along the entire
length of said casing, said tabs thereby break the fall of particulate material disposed within said rainmaker,
first and second end closing means mounted on said first and second opposed ends,
a thin decorative covering secured on an outside wall of said casing.
said partic...
Method and apparatus for representing musical information2010-03-26 00:00:00/>FIG. 10 is a depiction of a computer screen showing a Framework Dialog Box for interfacing with the Music Framework.
FIG. 11 is a block diagram showing the format of a transportable version of the music data represented in the Music Framework.
FIG. 12 is a block diagram of a Data Structure intensive Model showing the relationship among the various data structure groups used by the Music Framework.
DESCRIPTION OF THE PREFERRED EMBODIMENT
To understand the nature and scope of the present invention, it is first necessary to define the various types of information that comprise the musical information to be represented by the present invention. The present invention represents all of the musical information for a composition within a common data structure in the storage means of a computer data processing system. The logical relationships that are represented within this common data structure allow changes in one type of musical information to be reflected in all other types of musical information as needed. The various "types" of musical information that are represented within this one common data structure arise out of the natural representations of both graphic (visual) musical information and acoustic (sound) musical information and the logical relationships between the graphic and acoustic musical information (e.g., pitch expressed in terms of frequency and pitch expressed in terms of placement of a note on a staff), as well as the interrelationships among the natural representations of either graphic or acoustic musical information (e.g., duration as affected by a tie or pitch as affected by a slur). Briefly, the types of graphic and acoustic information that are represented in the common data structure used in the present invention are: melodic information, rhythmic information, interpretive information, and textual information.
As with languages, music is a way for humans to formulate, understand, manipulate and communicate information. Accordingly, the various representations of musical information are not dictated as much by the laws and limitations of nature as they are by the conventions and rules of musicians. The present invention attempts to understand and replicate the various interrelationships, conventions and rules that govern the way musicians see and hear music, rather than imposing a new set of rules and standards for how to represent music in a manner that is most convenient for a computer. In this way, the present invention should be viewed as extensible and able to adapt to new interpretations and methods of how humans represent music. The various types of information that are represented by the present invention are not meant to limit human imagination in creating new ways of representing or understanding musical information. Instead, the present invention encourages looking at musical information in a new light and allows for non-traditional methods of representing that information, for example twentieth century notation.
Though the present invention is not limited by any arbitrary division of the types of musical information that are represented in its common data structure, it is helpful to define the types of musical information that will be discussed. Melodic information refers primarily to both the pitch and absolute duration of the individual notes entered by the musician or composer. Pitch refers to the tonal properties of a sound that are determined by the frequencies of the sound waves that produce the individual note. In classical western musical notation, pitch is denoted with reference to a series of half-step intervals that are arranged together in octaves; each octave comprising 12 half-steps or notes. For purpose of defining melodic information as used in this invention, note duration is the
length of time a particular note is played. Note duration is sometimes thought of as the relative time value of a given note, e.g., whole note, half note, quarter note, eighth note. For purposes of this invention, however, note duration in terms of melodic information refers only to the absolute time value of a given note, i.e., absolute note duration. It is necessary to distinguish between relative and absolute time value of a note, because relative time value can only be correctly resolved when the proper beat unit is known, i.e., a half note played at 160 beats per minute should be notated differently than a quarter note played at 80 beats per minute, even though both notes will have the same absolute time value.
Rhythmic information, on the other hand, refers to everything pertaining to the time and emphasis aspects of multiple notes as distinct from their melodic aspects. It includes the effects of beats, accents, measures, grouping of notes into beats, grouping of beats into measures and grouping of measures into phrases. For purposes of the present invention, four distinct components comprise the rhythmic information necessary to easily and accurately transcribe music into musical notation: (1) relative note duration--this is the
length of time a note is played in terms of the time signature for the measure; i.e., half note, quarter note; (2) beat unit--the base unit of time used to measure the tempo of a piece of music; (3) measure--the organization of beat units into groups corresponding to the time signature of the composition or section of a composition; and (4) accent--the designation of particular emphasized beat units or notes within a measure. The function and importance of rhythmic information or the "beat" relates to the fact that the human ear seems to demand the perceptible presence of a unit of time that can be felt as grouping the individual notes together. In classical western notation, the beat unit and the relation between beat units and measures are designated by the tempo marking, e.g., 120 beats per minute, and the time signature, e.g., 3/4, where the top number indicates the number of beat units per measure (in this case 3) and the bottom number designates the type of note in which the beat units will be measured, i.e., the note value that will receive one beat unit (in this case a quarter note). Though sometimes referred to as the beat, for purposes of this invention, an accent will define which notes, beat unit(s), or sub-divisions of beat units in a measure or group of measures are to receive...
Graphic/tactile musical keyboard and nomographic music notation2010-03-23 00:00:00middle C, and showing the extended keys corresponding to the conventional black keys, and the narrowed upper row keys of an upper octaval grouping.
FIG. 2 shows an enharmonic note index, aligned with the keys of the keyboard of FIG. 1, written using some of the nomographic notation of the present invention.
FIG. 3 shows C major, G major and B鈾?major scales written in the treble clef using the nomographic notation of FIG. 2 and also the nomographic symbols included in the key signature in accordance with the present invention.
FIG. 4 is a plan view of a preferred, second embodiment of a three-row whole tone graphic/tactile keyboard according to the present invention, showing the major scale index keys darkened, extended and raised upper row F and G keys and middle row C keys, and the darkened and raised lower row F and G keys.
DETAILED DESCRIPTION OF THE PREFERRED EMBODIMENTS
The nomographic music notation system.
The musical instruction system of the present invention includes a graphic system of musical notation including a nomograph which provides the player with a visual indication on the written music of the keyboard location of each note to be played. Although presently applied to a three-row whole tone keyboard, the nomographic system of notation can be readily adapted to other keyboard configurations.
As seen in FIG. 1, a three-row whole tone graphic/tactile keyboard 10 according to the present invention is symmetrical, in that pairs of adjacent keys in each row are always separated by one whole tone, and the intervening half steps are always played on an adjoining row of keys. There are three-rows of keys: an upper row 12 farthest from the player, a middle row 14 at an intermediate distance from the player, and a lower row 16 closest to the player. The upper row 12 contains keys playing the notes C鈾?/D鈾? D鈾?/E鈾? F, G, A and B. The middle row 14 contains keys playing the notes C, D, E, F鈾?/G鈾? G鈾?/A鈾?and A鈾?/B鈾? The lower row 16 contains keys aligned with and playing the same notes as the keys of the upper row 12. The keys are grouped into octaval groupings 18, 18', 18" which include six adjacent middle row keys: C, D, E, F鈾?/G鈾? G鈾?/A鈾?and A鈾?/B鈾? and six upper and six lower row keys: C鈾?/D鈾? D鈾?/E鈾? F, G, A and B. By common musical convention, the keyboard 10 contains a plurality of octaval groupings 18, 18', 18" plus a terminating middle row key of C natural following the highest octaval grouping, so that the keyboard begins and ends with a key of C natural. The physical lengths of the octaval groupings are held constant across the entire
length of the keyboard, in order to maximize the player's facility on the keyboard.
Each octaval grouping 18, 18', 18" on the tactile keyboard of the invention includes six keys in the upper row. Two upper row keys 20 in each octaval grouping 18, 18', 18", playing the notes C鈾?/D鈾?and D鈾?/E鈾? are lengthened to simultaneously graphically and tactilely differentiate them from the remaining upper row keys. This differentiation provides the player with graphic and tactile keyboard position cues, and simultaneously remind the player that those keys appear on the conventional keyboard as black keys. This keyboard position cue allows the beginning player to rapidly develop that tactile sense of keyboard position which is a prerequisite to advanced keyboard study, without necessitating or encouraging visual reference to the keyboard. The extending of the extended upper row keys 20 is accomplished by extending the front vertical end surfaces 24a of said keys toward the player by a predetermined distance. The four shorter upper row keys 22 play the notes F, G, A and B, which are produced on the conventional keyboard by white keys.
The widths of the upper row keys can be held constant, or they can be increased or decreased in one or more of the lowest octaval groupings 18' in order to improve the keyboard's fingering facility, thus extending the range of the instrument of which the keyboard is a part. As presently preferred, the keys of the upper row 12 in the upper octaval groupings 18, 18' are narrowed to approximately one-half the width of the gap 26 separating adjacent upper row keys in said u...
Suspension of musical instruments2010-03-20 00:00:00attachment points or said means for attaching said suspension means to said still another of said attachment points is connected removably to said instrument.
7. Apparatus as defined in clam 4 wherein said second end of said secondary strap loops about said main strap, allowing said secondary strap to slide along the
length of said main strap while remaining secured to said main strap.
8. Apparatus as defined in claim 7 wherein the
length of said secondary strap is adjustable.
9. Apparatus as defined in claim 3 wherein said main strap has a width, and a thickness less than said width, and said means for attachment of said second end of said secondary strap to said main strap is removable.
10. A method of balancing an instrument on the body of a player, comprising the steps of:
(a) attaching a harness to three distinctive positions on said instrument; and
(b) positioning said harness on said body of said player.
11. The method as defined in claim 10 further including the step of positioning said harness on said body of said player between two of said positions.
12. The method of claim 11 wherein said instrument is a guitar and said player has a neck extending from said body, further including the steps of (a) extending said harness about said neck between two separated positions of said instrument and (b) moving said harness to achieve a balanced orientation of said instrument without applying a countervailing torque to said instrument.
13. The method of claim 12 wherein said harness includes a strap of adjustable length, further including the step of adjusting said length to alter the position of said guitar in relation to said body of said player.
14. A harness as defined in claim 1 for positioning and stabilizing a musical stringed instrument, wherein:
(a) said suspension means comprises a backpiece;
(b) said means for attaching said suspension means to said one of said attachment points comprises a first segment having a first and second end; a first attachment means for attaching said first end of said first segment to said backpiece; a first anchoring means for anchoring said second end of said first segment to said instrument;
(c) said means for attaching said suspension means to said another of said attachment points comprises a second segment having a first and second end; a first attachment means for attaching said first end of said second segment to said backpiece; a second anchoring means for anchoring said second end of said second segment to said instrument;
(d) said means for attaching said suspension means to said still another of said attachment points comprises a third segment having a first and second end; a th...
Hand-held percussion musical instrument comprising elongate tube shaped as a ring, incorporating dividers, and incoporating contained sound-generating elements2010-03-18 00:00:00lifted and shaken by one hand of a performer, and being sufficiently large that said one hand may at different times grasp said tube at several nonoverlapping regions therealong,
the diameter of said tube being sufficiently small that said tube may be readily grasped by said one hand,
(b) divider means provided at spaced points along said tube to divide the
length of said tube into chambers at least some of which are adapted to contain hard solid masses,
(c) hard solid masses loosely disposed in at least some of said chambers to impact said wall means and create said audible percussion vibrations when said tube is shaken by said one hand,
(d) a mechanical-electrical transducer is associated with said wall means to generate an electric signal in response to impacting of said masses on said wall means, and
(e) amplifier and loudspeaker means connected to said transducer to convert said signal into amplified sound.
11. A percussion musical instrument, which comprises:
(a) wall means to define at least one chamber adapted to contain hard solid masses,
said wall means being sufficiently small to be readily grasped, lifted and shaken by one hand of a performer,
(b) hard solid masses disposed loosely in said chamber,
said wall means and said masses being so constructed and related that shaking of said wall means by said one hand of said performer causes said masses to impact said wall means and generate sound that is audible to said performer and others, and
(c) drumhead means mounted adjacent said wall means and connected thereto,
said drumhead means and wall means being so constructed and related to each other that striking of said drumhead means by the other hand of said performer creates combined sounds, one by said drumhead means, and one by said above-stated impacting of said wall means by said masses.
12. The invention as claimed in claim 11, in which said wall means is shaped as a closed figure having an opening defined thereby, and in which said drumhead means is provided across said opening.
13. The invention as claimed in claim 12, in which said wall means and drumhead means are disposed parallel to each other.
14. The invention as claimed in claim 11, in which said wall means is a tube formed of hard synthetic resin, said tube being bent into a closed figure, and in which said masses are disposed in said tube.
15. The invention as claimed in claim 14, in which a plurality of walls are provided internally of said tube at spaced points therealong to divide said tube into a plurality of tubes, said tubes defining at least said one chamber adapted to contain said masses.
16. The invention as claimed in claim 14, in which said drumhead means is a rigid rim across which a flexible drumhead is stretched under tension, and in which means are provided to fixedly mount said rim on said tube of hard synthetic resin.
17. A percussion musical instrument, which comprises:
(a) wall means to define an elongate tube
said wall means being formed of hard synthetic resin having such characteristics, and being sufficiently thin, that when hard solid masses are disposed loosely within said tube, a...
Complete transposable notation and keyboard music system for typists2010-03-10 00:00:00the lowest pitched note4 on the keyboard 2 of the present invention when the fingers of the typist were originally placed over the traditional home row, the note G as shown in FIG. 7 would be the key 7 designation for using the normal home row by having the letter Z insertedin the ball 8 of the clef 5 as shown in FIG. 8. Thus the note G as shown in FIG. 7 is assigned to the key 7 with the letter symbol Z as shown in FIG. 1, and the whole keyboard 2 is laid out with respect to the key 7 with the letter Z being the note Gwhich with the preferred embodiment dictates that the note middle C must be assigned to the key 7 with the letter N, also as shown in FIG. 1, since as will be explained hereinafter each successive key 7 on the keyboard 2 plays a note which is one halfnote higher than the note played by the immediately preceeding key 7 in that row.
If the music is to be played in some other key than the original key, the designation as shown in FIG. 8 in the ball 8 of the clef would change. If, for example, the music was originally played in the key of G minor and this was indicated by a Zappearing in the ball 8, and it was then desired that the music was to be played in the key of C minor, then the designation in the ball 8 of the clef 5 would be the letter N and the home row of keys 7 for the typist would be shifted to the right so thatthe lowest pitch attainable using standard fingering techniques from the new home row would be the note middle C which is played by pressing the key 7 with the letter N with the little finger of the left hand. Therefore any musical score may betransposed to any musical key using the same fingering motions as with the original musical key, simply by shifting the location of the home row, while at the same time keeping the same notation with which the typist is familiar.
Referring now to FIG. 1, it is seen that in those notes 4 which have light or white centers, a dark letter is inserted inside the white or light center of the note 4. The stems, or absence thereof, which indicate the
length of time which thenote is to be played are retained. Thus, the typist needs only to read the letter within the note to determine which fingering motion to exercise, and the
length of time to hold or press the key 7 is determined by the stems and flags. In notes, such asquarter and eighth notes, where the center of the note is usually darkened or black, a white or light letter is inserted which corresponds to the fingering motion to be exercised, and the
length of time to hold the key 7 is determined by the stems andflags. In addition, the quick identification of letters within the centers of the notes is enhanced by the vertical positioning of the notes in the lines 6. As far as a typist is concerned, the music is complete with only a clef 5 and the notes, andthe lines are not needed; yet the vertical arrangement of the notes according to the pitch of the note is a definite visual aid. The standard keyboard 2 has four rows of ten keys 7 each, with letters, numbers and characters on them as shown in FIG. 2. The row which is closest to the typist is called the bottom row; the row which is next above the bottom row is herein referred to as the home row, the second row, or the next to the bottom row. The row above the home row is herein called the third row;and...
Musical instrument bridge2010-03-09 00:00:00has a base portion that is secured to the plate, a head portion that is configured to anchor an end of the string supported by the finger and a waist portion that extends between the base portion and the head portion, the waist portion of each of the first and second fingers having a pair of opposing slots that extend lengthwise along a
length of the waist portion, the opposing slots of the first finger having a dimension that is different than a dimension of the opposing slots of the second finger.
5. The musical instrument bridge of claim 1, wherein each of the first and second fingers has a base portion that is secured to the plate, a head portion that is configured to anchor an end of the string supported by the finger and a waist portion that extends between the base portion and the head portion, each of the first and second fingers having a mass, the mass of the first finger being different than the mass of the second finger.
6. The musical instrument bridge of claim 1, wherein each of the first and second fingers has a base portion that is secured to the plate, a head portion that is configured to anchor an end of the string supported by the finger and a waist portion that extends between the base portion and the head portion, each of the first and second fingers having a groove that extends between the base portion of such finger and the waist portion of such finger, the groove of the first finger having a length that is different than a
length of the groove of the second finger.
7. The musical instrument bridge of claim 1, further comprising a mounting block disposed between the plate and the fingers.
8. The musical instrument bridge of claim 7, wherein the mounting block and the base portion of each of said fingers have respective interfitting portions including a groove and an outwardly extending lip received in the groove.
9. The musical instrument bridge of claim 7, wherein the mounting block includes a plurality of slots into which each of said fingers is secured.
10. The musical instrument bridge of claim 9, wherein each of the fingers is secured to the mounting block independently of any other of the fingers.
11. A musical instrument bridge for supporting a set of strings above a front face of a musical instrument, wherein each string of the set of strings is tuned to a predetermined pitch when the musical instrument is played, the musical instrument bridge comprising:
a plate that is attachable to the musical instrument;
several fingers cantilevered from the plate, each of said fingers having a resonant frequency and being configured to support a string of the set of strings above the front face of the musical instrument, said fingers being arranged in a row such that two of said fingers define a first end finger and a second end finger disposed, respectively, at opposite ends of the row and a first mid finger and a second mid finger disposed intermediate said first and second end fingers, the resonant frequency of said first mid finger being different than the resonant frequency of said second mid finger.
12. The musical instrument bridge of claim 11, wherein each of the first and second mid fingers has a base portion that is secured to the plate, a head portion that is configured to anchor an end of the string supported by the finger and a waist portion that extends between the base portion and the head portion, the waist portion of each of the first and second mid fingers having a width dimension, the width dimension of the waist portion of the first finger being different than the width dimension of the waist portion of the second mid finger.
13. The musical instrument bridge of claim 11, wherein each of the first and second mid fingers has a base portion that is secured to the plate, a head portion that is configured to anchor an end of the string supported by the finger and a waist portion that extends between the base portion and the head portion, the head portion of each of the first and second mid fingers having a hole therein, the hole of the head portion of the first mid finger being a different size than a size of the hole of the head portion of the second mid finger.
14. The musical instrument bridge of claim 11, wherein each of the first and second mid fingers has a base portion that is secured to the plate, a head portion that is configured to anchor an end of the string supported by the finger and a waist portion that extends between the base portion and the head portion, the waist portion of each of the first and second mid fingers having a pair of opposing slots that extend lengthwise along a
length of the waist portion, the opposing slots of the first mid finger having a dimension that is different than a dimension of the opposing slots of the second mid finger.
15. The musical instrument bridge of claim 11, wherein each of the first and second mid fingers has a base portion that is secured to the plate, a head portion that is configured to anchor an end of the string supported by the finger and a waist portion that extends between the base portion and the head portion, each of the first and second mid fingers having a mass, the mass of the first mid finger being different than the mass of the second mid finger.
16. The musical instrument bridge of claim 11, wherein each of the first and second mid fingers has a base portion that is secured to the plate, a head portion th...
Method for operating a musical instrument2010-03-08 00:00:00the visual appearance using the conventional staff. FIG. 7 also shows the use of several octave marks indicating changes in octaves, thereby immediately orienting the musician to the octave group of interest. Also shown are symbols for dividing measures that are different from conventional barlines.
In one embodiment, the present invention provides a convenient system for recording music by use of the new music notation system of the present invention. The artisan recording music need not know how to read music using the conventional system to be able to record music in the new system of the present invention. Because each space and line on the new staff of the present invention relates to a white or black key, respectively, of a keyboard instrument, the artisan need only identify the proper octave, such as, for example, by the use of octave marks, and then record the key of a standard keyboard instrument that relates to the pitch to be recorded. Such a system is particularly useful for recording music in piano tablature because each space and each line of the new staff is analogous to a specific key on a standard keyboard instrument.
In another embodiment, once music has been recorded onto the new staff, such music can easily be transcribed to a conventional staff by anyone conversant in conventional music notation. Therefore, music can be recorded by an artisan who is not conversant in the conventional music notation system, and the recording can then be transcribed into the conventional notation system without great difficulty. Currently, such recordation into the conventional notation system, when an artisan lacks familiarity with the conventional system, requires that one being conversant in the conventional notation system be present with the artisan to record the music as described or as played by the artisan. Therefore, the new staff of the present invention significantly enhances the ability of artisans to record music in the conventional notation system, even when the artisan is not conversant in the conventional music notation system.
In another embodiment of the present invention, distinctive and individualized noteheads are used to distinguish pitches that relate to a white key of the standard keyboard instrument and a black key of the standard keyboard instrument. Such differences can be, for example, as previously described with respect to using different noteheads for pitches recorded on a line as compared to noteheads for pitches recorded in a space of the new staff of the present invention. However, the use of such different noteheads to identify a key having a letter designation, or the sharp or flat of a letter designation, can be used with any staff, including a conventional staff. Preferably, however, the staff is a new staff of the present invention.
Similarly, distinctive and individualized noteheads for all twelve pitches of an octave, as previously described, can be used on any staff, including a conventional staff, to facilitate the ease of reading recorded music. Alternatively, with such twelve individualized noteheads, no staff at all is required. Such might be desirable to avoid the confusion caused by the presence of unnecessary lines of a staff for the very skilled artisan who is particularly familiar with a set of notehead symbols. FIG. 8 shows the same four measures of music as shown in FIG. 7, except using individualized noteheads for each of the recorded pitches within an octave group, and in the absence of a staff.
FIG. 9 shows a staff of the present invention having a preferred set of notehead designs. Each notehead, representing one of the twelve pitches within an octave, has a design that is unique and different compared to each of the other notehead designs. The notehead designs, however, are individualized in a way that communicates two helpful concepts.
First, any note that appears in a space, and therefore represents one of the seven "naturals" (white keys of the piano), is of one basic shape, with seven variations. Any note that appears on a line, and therefore represents one the of five other notes (black keys of the piano), is another basic shape, with five variations. These five other notes have been given the letter designations Z, R, O, I, and U, shown in FIG. 9.
The basic shape for the group of seven naturals is portrayed by the notehead shown for the note "D", while the notehead for the note "I" portrays the basic shape for the other five. The noteheads for the group of seven naturals are of a blocky design, having substantial thickness over the
length of the notehead along the staff. The noteheads for the group of five other notes are variations of a diamond-type shape, with a relatively thick portion near the center of the notehead and tapering to points at either end of the notehead. Therefore, the general difference in shapes between the group of five and the group of seven are easily identifiable in order to assist a musician in identifying notes corresponding to white keys and notes corresponding to black keys on a piano keyboard.
Second, the two basic shapes are varied so that each notehead shape is different from all the others, while retaining the fundamental shape of its grou...
Magnetic pickup for stringed musical instrument2010-03-01 00:00:00 6. A magnetic pickup according to claim 1 in which said magnet means comprises at least two magnets positioned on different sides of said inner polepiece and each magnet having oppositely directed poles facing in a direction parallel to the
length of the strings.
7. A magnetic pickup according to claim 1 in which a case having three mounting tabs surrounds the pickup, said case being connected to the instrument by at least three adjusting screws for providing a height and tilt adjustment.
8. A magnetic pickup according to claim 1 in which said, inner polepiece has a uniform length and a uniform height.
9. A magnetic pickup according to claim 1 in which said inner polepiece is flat and is of uniform thickness.
10. A magnetic pickup according to claim 1, said coil comprising two coils connected in series out of phase relationship at one side of said magnet means, said inner polepiece comprising two of said inner polepieces respectively disposed in saidtwo coils, and said magnet means comprising an inner and two outer magnets, the outer magnets being disposed outside said inner polepieces and said inner magnet being disposed between said inner polepieces.
11. A magnetic pickup according to claim 10 in which said outer polepiece comprises two of said outer polepieces respectively positioned in contact with each of said two outer magnets and having polarities opposite to each other.
12. A magnetic pickup according to claim 2 in which said outer polepiece has a plurality of pole legs of a height equal to that of said pole legs of said inner polepiece.
13. A magnetic pickup according to claim 12 in which the distal end of at least one pole leg has been removed to effect a fixed height different from at least one of the other pole legs.
14. A magnetic pickup for a musical instrument having strings, comprising:
(a) a coil common to a plurality of the strings;
(b) a flat inner ferromagnetic polepie...
Musical resonator mounting structure2010-02-26 00:00:00plurality of corrugated metal wires connected in parallel between the end plates and arranged at the bottom side of the drum. By means of operating the lever of the adjustment device to lift the link, the corrugated metal wires of the resonator unit are stretched and closely attached to the bottom side of the drum, as shown in FIG. 1, therefore the corrugated metal wires are vibrated when the drum is played by beating. When the lever of the adjustment device is operated to lower the link, the corrugated metal wires of the resonator unit are released and disconnected from the bottom side of the drum, as shown in FIG. 2. This musical resonator mounting structure has drawbacks. Because the
length of the corrugated metal wires of the resonator unit is approximately equal to the diameter of the drum, much metal material is used for making the corrugated metal wires. Another drawback of this musical resonator mounting structure is the complicated procedure of processing mounting holes on the frame of the drum for mounting the holder plates. Furthermore, the manufacturing cost of the adjustment device is high, and its installation procedure is complicated.
SUMMARY OF THE INVENTION
It is one object of the present invention to provide a musical resonator mounting structure which can be conveniently installed in a musical instrument and adjusted to the desired position. It is another object of the present invention to provide a musical resonator mounting structure which greatly diminishes material for the resonator unit, and reduces its manufacturing cost. To achieve these and other objects of the present invention, there is provided a musical resonator mounting structure which comprises a resonator unit, a support plate, a coupling plate having one end fastened to the s...
