Resonance system and stringed instrument including the same

Abstract

A resonant system comprising a musical instrument body having at least one internal cavity, the internal cavity communicating with a sound hole extending continuously from the top. The sound hole may have a continuous curved transition from the top and a length corresponding to the changed resonant frequency of the instrument body. A stringed instrument (e.g., a guitar, such as a semi-acoustic electric guitar) including the resonant system disclosed herein.

Description

[0001] This application is a divisional application of application number 201910210826.3. The application date of the parent application is March 19, 2019, and the name of the invention is “Resonance system and string instrument including a resonance system”. Technical Field

[0002] The present invention generally relates to a resonance system for a stringed musical instrument. Background Art

[0003] Stringed instruments have specific tonality and resonant frequency ranges based on the size and shape of their bodies. Instrument bodies with symmetrical shapes, relatively large internal volumes, and / or relatively light physical support can provide a robust frequency range and clear tone. For example, violins, cellos, and acoustic guitars each utilize a relatively large internal volume that is designed to provide smooth and clear reproduction of different frequency ranges.

[0004] While such stringed instruments can provide sound quality, they may struggle to provide acoustic amplitude and volume unless played in a venue with optimal acoustic properties, such as a concert hall. The use of acoustic transducers allows the sound produced by stringed instruments to be amplified, manipulated, and recorded, but this is often accompanied by acoustic degradation due to the limitations of the acoustic transducers and their placement on the instrument.

[0005] In contrast to stringed instruments, which are essentially acoustic, electric stringed instruments can be configured to optimize the placement and performance of acoustic transducers relative to the vibrating strings. Such electric stringed instruments can accurately reproduce a relatively large frequency range and, when plugged into a signal processor, can easily add signal processing (e.g., timbre and volume). However, electric stringed instruments can have limited acoustic properties, at least in part due to the preferential placement of the acoustic transducers and the physical support presenting an extended, irregularly shaped internal cavity with a finite volume. Summary of the Invention

[0006] In accordance with various embodiments, a resonant system includes an instrument body having at least one interior cavity communicating with a sound hole extending continuously from a top cover, the sound hole having a continuous curved transition from the top cover and a length corresponding to a changed resonant frequency of the instrument body.

[0007] In other embodiments, the resonant system has a body having a single interior cavity communicating with a sound hole extending continuously from the top, the sound hole having a continuous curved transition from the top and a length corresponding to the varied resonant frequency of the body.

[0008] In some embodiments, a stringed instrument resonant system is used by providing an instrument body having a single internal cavity that communicates with at least one sound hole extending continuously from a top, wherein the sound hole has a continuous curved transition from the top and a length corresponding to a first altered resonant frequency of the instrument body. The sound hole is altered to produce a second altered resonant frequency of the instrument body. BRIEF DESCRIPTION OF THE DRAWINGS

[0009] Figure 1 Shown is a block diagram representation of an example stringed instrument assembly that can be used in accordance with various embodiments.

[0010] Figure 2A and 2B Respectively, they indicate Figure 1 The string instrument assembly uses the parts of an example string instrument.

[0011] Figures 3A to 3D Line representations of portions of example stringed instrument resonant systems configured in accordance with some embodiments are respectively depicted.

[0012] Figure 4 is a cross-sectional illustration of a portion of an example stringed instrument resonant system arranged in accordance with various embodiments.

[0013] Figure 5 Presents a cross-sectional view of a portion of an example stringed instrument resonant system for use in accordance with various embodiments.

[0014] Figure 6 Shown are line diagram representations of portions of an example stringed instrument resonant system that may be used in accordance with various embodiments.

[0015] Figure 7 Shows the available Figure 1-6 An example resonance optimization routine is performed using various embodiments of the present invention. Specific embodiments

[0016] The present disclosure generally relates to a resonance system for a stringed instrument that can optimize the acoustic properties of an irregularly shaped instrument body.

[0017] Various embodiments relate to a resonance system for a stringed instrument that optimizes frequency response and tonality by altering at least one resonant frequency of the instrument body. By providing one or more sound holes that reverse the phase of sound waves from within the instrument body, an electric stringed instrument can have improved acoustic depth, acoustic quality, acoustic tonality, and acoustic amplitude when not connected to a signal processor. The ability to adjust the sound holes of an electric stringed instrument allows for optimization of a wide variety of audible frequencies despite having a relatively small volume and an irregularly shaped internal instrument cavity.

[0018] Figure 1 A block diagram of an example stringed instrument assembly 100 is shown in which various embodiments of the present disclosure may be practiced. The stringed instrument assembly 100 may have any number of stringed instruments 102 that are individually and / or collectively connected to one or more signal processors 104. As a non-limiting example, a plurality of different stringed instruments 102 (e.g., a six-string guitar and a four-string bass) may each be connected to a different signal processor 104 (e.g., a foot pedal) while each being connected to a common signal processor 104 (e.g., a sound card, amplifier, or preamplifier) ​​via one or more connections 106 (e.g., wired and / or wireless signal paths).

[0019] The stringed instrument 102 is not limited to a particular size, shape, type, sonic characteristics, or material construction, but in some embodiments may be a guitar defined by at least a body 108 secured to a neck 110. One or more strings 112 (e.g., metal, nylon, or other acoustic material) may extend continuously across the neck 110 and a portion of the body 108 from a headstock 114 to a bridge 116. Articulation of the at least one string 112 produces a predetermined tone and frequency range that may be enhanced by the body 108, the signal processor 104, or both. For example, an acoustic guitar may have no electronic transducing means and rely on the guitar body 108 to reverberate the sound produced by the strings 112, while an electric guitar may have a minimal acoustic chamber in the guitar body 108 and rely on one or more active or passive electronic transducing means, such as a wound coil pickup, a humbucking pickup, and a piezoelectric pickup.

[0020] While acoustic guitars can be equipped with electronic transducers, the string vibration dynamics of a hollow body 108 differ from those of the solid body 108 often used in electric guitars. Consequently, hollow-body electric guitars, which can be characterized as semi-acoustic guitars, attempt to provide acoustic (unplugged) tonality with traditional electric guitar string 112 dynamics that more closely resemble the sonic characteristics of an acoustic guitar. However, because the interior of the body 108 plays such a significant role in producing rich, deep, and smooth acoustic tonality, modifying an electric guitar to resemble an acoustic guitar is much more difficult than modifying an acoustic guitar to resemble an electric guitar.

[0021] Figure 2A and 2B Line diagram representations of portions of an example stringed instrument 120 are each provided in which various embodiments may be employed. Figure 2A A cutaway perspective view of a guitar body 108 and neck 110 is shown without a faceplate 122 mounted thereon, with a bridge 116 mounted thereon. The body 108, as part of an electric guitar, can be of any shape, size, and material construction, but is considered to be a hollow-body electric / semi-acoustic guitar having a relatively thin profile (e.g., 1.75 inches or less along the Z-axis), a relatively small interior cavity 124 volume (e.g., 200 cubic inches or less), and internal features 126 for mounting electronics (e.g., knobs, batteries, circuitry, and pickups).

[0022] It should be noted that solid body electric guitars are Figure 2A The body 108 of an acoustic guitar differs from that of a solid body electric guitar in that it does not have an acoustically perceptible interior cavity 124 that enhances the acoustic properties of the vibrating strings 112. In contrast, an acoustic guitar is Figure 2A The body 108 of an electric guitar differs in that the acoustic guitar has a larger interior cavity 124, the shape of which helps enhance the acoustic properties of the vibrating strings 112. Additionally, an acoustic guitar will have physical supports within the cavity 124 to support the top, while the body structure of an electric guitar is sufficient to support the top 122 and the aggressive manipulation of the strings 112 even without support.

[0023] Figure 2BThe stringed instrument 120 is shown fully assembled and ready to play, with a top 122 installed and the strings tuned to a predetermined tension across one or more pickups 128. To utilize the volume of air occupying the interior cavity 124, one or more shaped ports (e.g., C-shaped holes 130 and / or F-shaped holes 132) can allow air to flow into and out of the body 108 to enhance and modify the acoustic properties of the vibrating strings 112. That is, the sound waves from the strings 112 translated through the interior cavity 124 and the air can generate harmonics of various frequencies that could not be produced by the strings alone, and these harmonics can be detected by the pickups 128 for signal processing and playback via the one or more signal processors 104.

[0024] While the addition of the internal cavity and one or more sound ports 130 / 132 can provide some increased acoustic properties, the irregular shape (as defined by the asymmetric shape in the XY plane) and internal features 126 degrade the acoustic performance of the instrument 120. Therefore, there is a general interest in optimizing the acoustic performance of stringed instruments having irregularly shaped internal cavities, particularly where the volume of the internal cavity is too small to provide resonance at lower frequencies (e.g., less than 500 Hz) therein.

[0025] Figures 3A-3D Portions of an example stringed instrument 140 configured in accordance with some embodiments to provide optimized acoustic properties in a semi-hollow / hollow body electric guitar are separately shown. Figure 3A The top view of FIG1 shows how the neck 110 extends from the body 108 and, together with the bridge 116, supports the strings 112 over the sound hole 142 and the pickups 128. The number, type, and location of the pickups 128 may vary without limiting or detracting from the novel aspects of the present disclosure.

[0026] The shape and dimensions of the instrument body 108, particularly the thickness measured parallel to the Z-axis, are associated with the irregularly shaped interior cavity 124, as indicated by the segmented regions 144. It should be noted that the body 108 has a non-restrictive length 146 of 16.25 inches at its widest point and a non-restrictive width 148 of 13.125 inches, which allows for an interior cavity 124 volume of 154 cubic inches (+ / - 5%). Additionally, the irregular cavity shape 124 may be affected by internal features (e.g., electronics lands and the presence of electronics) and is asymmetrical about the X-axis (vertical symmetry) and about the Y-axis (horizontal symmetry) in the XY plane. Despite the irregular cavity shape, the sound hole 142 provides fluid access from directly beneath the strings 112 to the cavity 124, which mitigates sound wave losses between the strings 112 and the cavity 124.

[0027] Figure 3B The side profile diagram of exemplifies how the inner cavity is limited by the thinner body 108. That is, a body thickness 150 of less than 2 inches (e.g., 1.75 inches) makes the inner cavity 124 not large enough to resonate naturally in the low frequency range (e.g., below 500 Hz). Figure 3B The side view further illustrates how the top plate 122 is a flat surface parallel to the XY plane, in contrast to an arched, curved, or other curved shape having depth along the Z axis. This flat surface 122 emphasizes the ability of the body 108 and bridge 116 to control string vibrations to produce musically pleasing sounds. Thus, in some embodiments, the interior cavity 124 is tuned along with the sound hole 142 to alter the resonance of the interior cavity 124 and the body 108 to optimize the acoustic volume, bass response, and tonality of the instrument 140 when the instrument 140 is not connected to the signal processor 104.

[0028] Figure 3C The top 122 of the instrument 140 is removed to reveal a tuned interior cavity 124 consistent with various embodiments. The interior cavity 124 is configured as a single continuous chamber 152 having a bottom plate 154 and sidewalls 156 that extend to maximize the volume of the interior cavity 124. It should be noted that the instrument is not limited to a single chamber 152, and any number of physically separate chambers can be positioned in the body 108 below the top plate 122. However, a single chamber arrangement allows acoustic materials to be selectively inserted into the body 108 to affect the acoustic properties of the instrument 140. For example, one or more materials (e.g., polyester, other acoustic fabrics, foam, elastomer, and rubber) can be inserted into the chamber 152 to change the actual volume of the chamber 152 and tune the instrument 140 to a lower, or higher, resonant frequency range.

[0029] Figure 3C The perspective view of FIG shows a single sound hole 142 mounted above a chamber floor 154 by a suspension 158 that is also partially separated from the floor 154, thereby improving the efficient movement of air and the overall tonality of the instrument compared to situations where the suspension extends continuously to the floor 154 and / or the suspension restricts air flow to and from the sound hole 142. The suspension 158 has a pair of rails 160, each of which is embedded in the body 108 to support the sound hole 142 and a bridge deck 162 where the strings are attached to the body / top.

[0030] The structure (e.g., size, shape, and depth) of the bottom plate 154 and the sidewalls 156 can be varied in a variety of ways to adjust the air flow within the chamber 152, which allows the instrument 140 to have a variety of resonant frequency ranges and a frequency reproduction range with optimized acoustic characteristics. Figure 3C In a non-limiting example, the bottom plate 154 meets the side wall 156 with a continuously curved shoulder 164 that promotes laminar air flow, rather than turbulent air flow, in response to a user sounding the strings of the instrument 140. As shown, the configuration of a single chamber 152 with a radiused shoulder 164 can supplement the increased air volume affected by string vibrations by mitigating flutter, the creation of a vacuum within the chamber 152, and eddy currents that can reduce the propagation of sound waves and the acoustic mass of the instrument 140.

[0031] The hanger 158 may provide some support for the panel, but because the panel sits in a recess 166 of the body 108, such support is minimal. That is, because the panel has both lateral (in the XY plane) and vertical (parallel to the Z axis) support provided by the recess 166, the size, strength, and location of the hanger 158 are configured to optimize the volume and acoustic properties of the chamber 152, rather than to provide structural support for the panel. The ability to adjust the depth of the recess 166 allows the amount of physical support for the panel to be adjusted. Thus, by adjusting the amount of surface area of ​​the panel that contacts the body 108 at the recess sidewalls 168, the amount of flex allowed in the panel during operation can be adjusted according to the user's preference.

[0032] Figure 3D , shows how the sound hole 142, suspension 158, and chamber 152 are arranged relative to the top 122. As shown, the top 122 extends continuously within the body recess 166 to be physically positioned over both the sound hole 142 and the suspension bridge plate 162, rather than extending over the edge 170 of the instrument body 108 along the Z axis. The top 122 has a sound aperture 172 whose center point is aligned with the center point of the sound hole 142 along the Z axis.

[0033] Although not required or limiting, various embodiments configure the sound cavity 172 to have a continuously curved edge 174 that matches the diameter of a sound hole edge 176 at the transition area where the panel 122 meets the sound hole. By shaping the sound cavity 172 with a rounded surface to match the sound hole edge 176, laminar air flow is promoted to improve the quality of sound waves entering and exiting the sound hole 142. In some embodiments, the sound hole 142 extends continuously along the Z-axis to the position of the panel 122 or even above the panel 122, which turns the curved cavity edge 172 into the junction point where the panel 122 meets the side of the sound hole 142. It should be noted that the sound hole 142 has an acoustic profile that corresponds to the structural configuration of the sound hole itself.

[0034] Regardless of whether the sound hole 142 extends to a plane above the panel 122 that is parallel to the Z-axis, the configuration of the sound hole 142 optimizes the sonic characteristics of the instrument 122 by reversing the phase of the sound waves within the chamber 152 to alter at least one resonant frequency and / or frequency range of the instrument 140. Thus, the sound hole 142, together with the single chamber 152, provides a structure that can artificially enhance the acoustic characteristics of strings vibrating near a ported enclosure. In other words, the sound hole 142 and the single chamber 152 create operative acoustic advantages that would not be achieved by placing the port in an instrument body 108 having an internal cavity volume, which distinguishes the present embodiment from acoustic guitars, hollow-body electric guitars, and semi-acoustic guitars.

[0035] Figure 4 A cross-sectional line diagram of a portion of an example stringed instrument 190 configured in accordance with various embodiments to demonstrate optimized acoustic properties is depicted. The sound hole 142 extends continuously from the panel 122 into one or more internal cavities 124 having smooth sidewalls 192 defining the acoustic profile of the sound hole 142 and its length, shape, and diameter. Figure 4 In a non-limiting example, the sidewall 192 has a curvilinear portion 194 and a linear portion 196. The curvilinear portion 194 can be characterized as having a uniform radius (R) (e.g., 0.375 inches in the YZ plane) and a sound hole shape in the XY plane parallel to the panel 122, such as a circle, an oval, a square, or a parallelogram.

[0036] As shown, the acoustic profile of the sound hole 142 is such that the linear portion 196 contacts the curvilinear portion 194 at a predetermined depth 198 within the body 108, as measured parallel to the Z-axis from the top of the interior cavity 124. The linear configuration defines a uniform inner diameter 200 parallel to the XY plane, while the curvilinear portion 194 defines a variable inner diameter 202 that is no less than the uniform inner diameter 200.

[0037] When measured parallel to the Z-axis, the sidewalls 192 extend continuously to a total length 204 that is selected to ensure phase reversal of the sound waves in a manner similar to a Helmholtz resonator. That is, the sound hole 142 separates the interior of the body 108 from the strings and the external ambient air by a length that allows sound waves within the body 108 to reverse within the sound hole 142. It should be noted that the sound hole length 204 can be a function of the diameter 200 / 202 and the resonant frequency that ensures phase reversal. Therefore, some acoustic frequencies may not experience phase reversal within the sound hole 142, but all acoustic frequencies within the tuning range will experience phase reversal.

[0038] As a non-limiting example, the sound hole 142 may have a length of 1.125 inches, a uniform diameter of 2.375 inches, and a variable diameter ranging from 2.375 inches to 2.975 inches. The sound hole 142 may be constructed of any type of material, but in some embodiments is a solid natural wood (e.g., mahogany, ash, spruce, or cedar) that can enhance acoustic richness and / or depth. However, portions of the sound hole 142 are contemplated to be non-wood materials (e.g., metal, ceramic, polymer). Portions of the sound hole 142 may be coated with a material that increases the density of the underlying material (e.g., resin, wax, or filler). At least some of the sound holes 142 may be shaped or textured to promote laminar air flow, for example, using depressions, ridges, grooves, or cantilevered protrusions that extend to or beyond the sound hole diameter 200 / 202.

[0039] While the interior sidewalls of the sound hole 142 can be modified to optimize air flow and acoustics, the exterior of the sound hole 142 can also be modified. For example, a portion of the sound hole 142 can be removed through one or more notches 206 to allow the sound hole 142 to be accommodated in a matching cover notch 208. Depending on the size and shape of the notches 206, the exterior of the sound hole 142 can be configured to make more physical contact with the top 122 than the sound hole edge 176 to provide physical support for the top 122. It should be noted that the sound hole 142 can be secured to the top 122 using any adhesive, such as glue or epoxy, or the sound hole 142 can have only a friction fit, such as a tongue-in-groove, without adhesive or artificial fasteners.

[0040] like Figure 4 As shown, the top panel 122 can provide a continuously curved transition region 210 where the exterior top panel surface 212 transitions to the linear portion 196 of the sound hole sidewall 192. The transition region 210 can be adjusted to promote laminar fluid flow while ensuring phase inversion, such as by configuring the transition region 210 to match or be dissimilar to the downwardly curved portion 194. The transition region 210 can be incorporated into the sound hole 142 rather than being part of the top panel 122, which would result in the sound hole 142 extending continuously through the top panel 122, as shown by the dashed line 214.

[0041] The ability to adjust the configuration of the sound hole 142 allows for some frequencies to be enhanced by raising or lowering the resonant frequency of the body 108. However, for users who desire to vary the resonant frequency and / or frequency range, a statically tuned configuration of the sound hole 142 may not be desirable. Therefore, various embodiments provide an adjustable sound hole that can be manipulated by the user to vary the frequency and frequency range at which phase inversion is achieved. Figure 5 A cross-sectional line diagram representation of several portions of an example stringed instrument 220 employing a variable tone hole 222 is shown.

[0042] The sound hole 222 can be configured to receive one or more inserts 224 that are rigidly attached, for example, using at least one fastener or using a friction fit within a sound hole bore 226. The friction fit can include attachments (e.g., clips, springs, or washers) that increase the surface pressure applied to the sound hole 222, the insert 224, or both. The sound hole 222 can have structural features 228 (e.g., grooves, protrusions, pockets, or ridges) to physically engage portions of the insert 224 to prevent unwanted movement or vibration of the insert 224. For example, the insert 224 can physically fit within the sound hole 222 and be retained within the sound hole 222 by means of a threaded engagement, force applied by an attachment, and / or a keyed configuration.

[0043] It should be noted that the sound hole 222 can operate alone as a phase inversion feature, similar to Figure 4 The insert 224 only changes the physical structure of the base sound hole 222. As a non-limiting example, as shown, the insert 224 can provide different lengths 230, diameters 232, sidewall shapes, transition region 234 shapes, and curved portion 236 shapes to result in different acoustic profiles than the base sound hole 222. However, some embodiments construct a single sound hole 222 that allows the user to completely remove a first sound hole having a first acoustic profile and replace it with a second sound hole having a different second acoustic profile. Such a single interchangeable sound hole 222 can be attached to the instrument body 108 in a variety of different ways (e.g., a locking joint, a buckle, a clip, or a friction fit).

[0044] In some embodiments, the variable sound hole 222 is an adjustable component constructed as a single unit that can be connected by a user, such as by rotating a center member relative to the outer member and the instrument body 108. The ability to easily and effectively change or replace a first sound hole 222, which is adjusted to change the resonant frequency in a first range, with a second sound hole / insert, which is adjusted to change the resonant frequency in a different second range, allows the stringed instrument 220 to be more versatile and facilitate different types of music reproduction (e.g., blues, rock, classical, and jazz).

[0045] Figure 6 Shown is a line diagram representation of several portions of another example stringed instrument 240, constructed and operative in accordance with various embodiments. Figure 6 The stringed instrument 240 is shown from a rear perspective, having the body 108 secured to the neck 110 , and the strings 112 , represented by dashed lines, depending from the headstock from the bridge 116 .

[0046] While some embodiments place the sound hole directly below the strings 112, Figure 3A As shown, other embodiments position one or more sound holes on the body 108 away from the strings 112. For example, a first sound hole 242 may be located on a rear surface 244 of the body 108, and a second sound hole 246 may be located on a side surface 248 of the body 108, as shown in the cross-sectional portion of the body 108. Each sound hole 242 / 246 is offset from the strings 112 and from the top of the body 108. In such a non-limiting example, the first sound hole 242 may be tuned with a different acoustic profile (e.g., having a different physical size, shape, and sidewall profile than the second sound hole 246). In addition, various embodiments arrange the sound holes 242 / 246 to have matching acoustic profiles.

[0047] The sound holes 242 / 246 may be covered by a plate, grille, or other material and may be sealed, allowing the user to freely change the acoustic behavior of the instrument 240. The sound holes 242 and / or 246 may supplement the sound holes on the top of the body 108 that are aligned with the strings, but this configuration is not required or limiting. The use of multiple sound holes 242 / 246 can correspondingly configure a corresponding port for each individual chamber inside the body 108 to prevent excessive air flow from any single internal chamber from degrading the acoustic quality of the instrument 240.

[0048] The ability to selectively open and close multiple sound holes in a single instrument body 108 allows the instrument 240 to be widely adaptable to enhance different resonant frequencies and frequency ranges. This multiple sound hole configuration can serve as an alternative to the sound hole insert 224 or a variable sound hole assembly, allowing the user to direct sound waves in different directions outward from the top of the body 108.

[0049] Figure 7 is available Figure 1-6 Flowchart of an example stringed instrument optimization routine 260 performed according to various embodiments as expressed in . Initially, a stringed instrument having at least one sound hole is constructed in step 262. Step 262 can be used to create a hollow body electric / semi-acoustic guitar from a solid body by forming one or more chambers sealed by a panel. In step 262, a sound hole having an adjusted acoustic profile (size, length, diameter, and sidewall shape) can be placed anywhere on the body, but in some embodiments is supported by a suspension to align with the neck, headstock, bridge, and strings, such as Figures 3A-3C shown.

[0050] The instrument construction in step 262 may involve factory adjustments, where a technician may optimize the sound hole acoustic profile for the constructed body by testing a plurality of different sound holes. For example, the manufactured instrument body may have slightly different internal cavity dimensions and volumes, which are adjusted (accommodated) in the factory by testing a plurality of different sound hole acoustic profiles to ensure phase inversion at a specific frequency (e.g., 147 Hz) or a selected frequency range (e.g., 140-250 Hz). Once the resonance of the constructed body has been optimized, step 262 completes the factory construction by installing and setting up the instrument for music playback. In other words, the instrument may not be tuned, but it is complete and ready to produce sound and music.

[0051] In some embodiments, step 262 involves attaching electronic devices such as pickups, circuit boards, circuits, knobs, and tuners to the instrument body to allow the instrument to be played via another signal processor. Such electronic devices can be of a magnetic type, which is different from piezoelectric electronic devices that respond to the vibrations of the strings on an acoustic-electric instrument. The inclusion of electronic devices allows step 264 to connect the stringed instrument to at least one signal processor (e.g., a pedal, amplifier, or preamplifier). In step 266, the sounding of the strings produces sound waves that are simultaneously generated within the interior chamber of the instrument housing, received by the electronic pickup, and received by the interior chamber via one or more sound holes.

[0052] The sound waves in step 266 are received or generated by the internal chamber at a first acoustic phase and reverberate within the chamber before exiting the instrument body through the same sound hole in a phase opposite to the first phase. Thus, the initial phase of the sound entering the internal chamber will be 180 degrees different from the phase of the existing sound waves. The combination of the internal chamber volume and the phase reversal changes the resonant frequency of the instrument body and, consequently, the acoustic properties of the sound waves generated by the vibrating strings. Consequently, the stringed instrument will have an enhanced acoustic quality in the vicinity of the instrument while providing an electronically reproducible signal to a connected signal processor.

[0053] In step 266, the user can play music and other sounds through the instrument continuously or sporadically for any amount of time. However, decision 268 may assess whether the user desires to change the acoustic properties of the instrument. If so, step 270 modifies at least one sound hole to change the acoustic profile of the sound hole, for example by inserting an insert, installing a cover to seal the sound hole, or attaching a sound hole member. If not, routine 200 returns to step 266 to enable the production of sound continuously or sporadically. Decision 268 and step 270 may be revisited any number of times to re-tune the instrument so that different frequencies or frequency ranges result in phase reversal. As a result of step 270, it will be understood that the user can substantially contribute to the tonality, sound quality, and resonance of the stringed instrument, regardless of whether the instrument is connected to an external signal processor.

[0054] Through various embodiments of the present disclosure, stringed instruments can be tuned to alter the acoustic properties of the instrument rather than the instrument body. Because the resonant frequency of the instrument body is altered by the sound holes, using one or more sound holes with a smooth, arc-shaped transition to the instrument's top allows a relatively small internal sound cavity to convey rich, deep, and pure tonality across a range of frequencies. The ability to modify existing sound holes with inserts having different acoustic profiles (e.g., length, sidewall shape, and diameter) allows the user to manipulate the acoustic performance of the stringed instrument at will.

[0055] Example

[0056] Several aspects of the present technology are illustrated in the following examples.

[0057] Example 1: A resonant system includes an instrument body having at least one interior cavity communicating with a sound hole extending continuously from a soundboard, the sound hole having a continuous curved transition from the soundboard and a length corresponding to a changed resonant frequency of the instrument body.

[0058] Example 2: The resonance system according to Example 1, wherein the body of the instrument is a hollow-bodied electric guitar body.

[0059] Example 3: The resonant system according to Example 1, wherein the panel supports the bridge and at least one electronic pickup.

[0060] Example 4: A resonant system according to Example 3, wherein the neck extends continuously from the body of the instrument.

[0061] Example 5: According to the resonance system of Example 4, the sound hole is aligned with the neck and bridge located directly below the strings and is arranged between the neck and bridge, and the strings extend from the bridge to the headstock portion of the neck.

[0062] Example 6: The resonance system according to Example 1, wherein the sound hole has a circular shape in a plane parallel to the panel.

[0063] Example 7: The resonance system according to Example 1, with the panel placed in a recess in the body of the instrument.

[0064] Example 8: The resonance system according to Example 1, wherein the sound hole is separated from the bottom plate of the inner cavity by the suspension.

[0065] Example 9: The resonant system of Example 8, wherein the suspension comprises a first rail and a second rail attached to opposite sides of the sound hole, parallel to the panel.

[0066] Example 10: The resonant system of Example 9, wherein a bridge plate spans the first rail and the second rail to support the bridge fixed to the top.

[0067] Example 11: The resonant system according to Example 9, each rail being attached to the body via a notch.

[0068] Example 12: The resonant system according to any one of Examples 1 to 11, having one or more characteristics selected from the group consisting of:

[0069] a) the interior cavity has a volume of at least 150 cubic inches and no greater than 160 cubic inches,

[0070] b) the sound hole is at least 1 inch and no longer than 1.25 inches,

[0071] c) The thickness of the guitar body, when measured perpendicular to the top, is not more than 1.75 inches,

[0072] d) the body of the instrument, without a sound hole, has a resonant frequency greater than 175 Hz, and

[0073] e) The changed resonant frequency is 175 Hz.

[0074] Example 13: A stringed instrument comprising the resonance system of any one of Examples 1 to 11.

[0075] Example 14: A stringed instrument comprising the resonance system of Example 12.

[0076] Example 15: The string instrument of Example 13, wherein the string instrument is a semi-acoustic electric guitar.

[0077] Example 16: The string instrument of Example 14, wherein the string instrument is a semi-acoustic electric guitar.

[0078] Example 17: A method comprising:

[0079] Providing a musical instrument body having a single interior cavity communicating with at least one sound hole extending continuously from a top panel, the at least one sound hole having a continuous curved transition from the top panel and a length corresponding to a first altered resonant frequency of the musical instrument body; and

[0080] The sound hole is altered to produce a second altered resonant frequency of the instrument body.

[0081] Example 18: The method of Example 17, wherein the sound hole is modified by placing an insert into the sound hole, the insert having a different acoustic profile than the sound hole, the insert corresponding to a second modified resonant frequency higher than the first modified resonant frequency.

[0082] EXAMPLE 19 The method of Example 17, wherein the sound hole is modified by blocking a sound hole corresponding to a second modified resonant frequency higher than the first modified resonant frequency.

[0083] It should be understood that although many features and advantages of the various embodiments of the present disclosure have been set forth in the foregoing description, this specific embodiment, together with the details of the structure and function of the various embodiments of the present disclosure, is merely illustrative and changes may be made in the details, especially in the structure and arrangement of parts, within the principle of the full scope broadly defined by the appended claims.

Claims

1. A musical instrument comprising: A musical instrument body including an interior cavity between a top plate and a bottom plate of the musical instrument body; a sound hole having a continuously curved transition region formed as a curved surface extending from the panel into the interior cavity; and A suspension structure in contact with the sound hole and further extending from the sound hole to the instrument body, for suspending the sound hole above the bottom plate of the instrument body, wherein the suspension structure comprises: (a) a first rail comprising a first end connected to the instrument body and a second distal end in contact with the bottom plate of the instrument body, a portion of the first rail in contact with a first side of the sound hole, (b) a second rail including a first end connected to the instrument body and a second distal end in contact with the bottom plate of the instrument body, a portion of the second rail in contact with a second side of the sound hole, the second side of the sound hole being opposite to the first side of the sound hole, and (c) a bridge support connected between the first rail and the second rail and suspended between the bottom plate of the instrument body and the top plate of the instrument body, located outside the space occupied by the sound hole.

2. The musical instrument of claim 1, wherein the panel is positioned in a recess in the instrument body.

3. The musical instrument of claim 1, wherein the sound hole has a length corresponding to the altered resonant frequency of the instrument body.

4. The instrument of claim 1, wherein the sides of the instrument body include a curved portion between the bottom plate and the top plate.

5. A musical instrument comprising: The body of the instrument including the inner cavity; a sound hole having a length corresponding to the altered resonant frequency of the instrument body, wherein the sound hole extends as a continuously curved transition region extending from the top of the instrument body into the interior cavity in the form of a continuous curve; and A suspension structure in contact with the sound hole and extending to the instrument body, for suspending the sound hole above the bottom plate of the instrument body, wherein the suspension structure comprises: (a) a first rail extending from the instrument body to the bottom plate of the instrument body, a portion of the first rail contacting the sound hole, and (b) A second rail extending from the instrument body to a bottom plate of the instrument body, a portion of the second rail contacting the sound hole.

6. A musical instrument according to claim 5, wherein the interior cavity of the sound hole includes a linear portion extending from the continuously curved transition region.

7. The musical instrument according to claim 5, wherein The first rail includes a first end embedded in the instrument body and a second distal end in contact with the bottom plate of the instrument body; and The second rail includes a first end embedded in the instrument body and a second distal end in contact with a bottom plate of the instrument body.

8. The musical instrument of claim 7, wherein the suspension further comprises: A bridge bracket is connected between the first rail and the second rail and is suspended between the bottom plate of the instrument body and the top plate of the instrument body, and is located outside the space occupied by the sound hole.

9. The instrument of claim 5, wherein the sides of the instrument body include a curved portion between the bottom plate and the top plate.

10. The musical instrument of claim 5, wherein the panel is disposed in a recessed portion of the instrument body.

11. A method for making a musical instrument, comprising: Providing a musical instrument body including an interior cavity between a top and a bottom panel; arranging a sound hole having a length corresponding to the altered resonant frequency of the instrument body, wherein the sound hole extends as a continuously curved transition region extending in a continuous curve from a top of the instrument body into the interior cavity; and Providing a suspension structure, the suspension structure being in contact with the sound hole and further extending from the sound hole to the instrument body, for suspending the sound hole above the bottom plate of the instrument body, wherein providing the suspension structure comprises: (a) providing a first rail extending from the instrument body to the bottom plate of the instrument body, a portion of the first rail being in contact with the sound hole, and (b) providing a second rail extending from the instrument body to a bottom plate of the instrument body, a portion of the second rail being in contact with the sound hole.

12. The method of claim 11, wherein the interior cavity of the sound hole includes a linear portion extending from the continuously curvilinear transition region.

13. The method according to claim 11, wherein: Providing the first rail includes embedding a first end into the instrument body and contacting a second distal end with a bottom plate of the instrument body; and Providing the second rail includes embedding a first end into the instrument body and contacting a second distal end with a bottom plate of the instrument body.

14. The method of claim 13, wherein providing a suspension further comprises: A bridge bracket is provided, connected between the first rail and the second rail and suspended between the bottom plate of the instrument body and the top plate of the instrument body, outside the space occupied by the sound hole.

15. The method of claim 11, wherein the side of the instrument body includes a curved portion between the bottom plate and the top plate.

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