Classical guitar sound hole tone bucket

Abstract

The utility model provides a classical guitar sound hole sound bucket belongs to guitar sound hole sound bucket field, including the resonance box, the neck and the head, the outside wall of fingerboard is provided with a plurality of silk, a plurality of strings are fixedly connected on the bridge, the side wall of resonance box is provided with the sound hole, the sound hole is roundly provided, the sound hole is located the top of bridge, the inner side wall of resonance box is fixedly connected with the main sound bucket, the inner side wall of main sound bucket is provided with the internal thread, the inner side of main sound bucket is provided with the vice sound bucket, main sound bucket and vice sound bucket all are circular tubularly provided, the position of sound hole corresponds with main sound bucket, the inner side wall of vice sound bucket is fixedly connected with the plucking platform, and the plucking platform is equidistantly arranged on the inner side wall of vice sound bucket, the utility model discloses, through setting up main sound bucket in the sound hole, main sound bucket makes the flowing mode of resonance box inside air through the improvement, makes the sound in the musical instrument more fully reflected and diffused to improve the whole resonance efficiency, makes the sound more full.

Description

Technical Field

[0001] This utility model relates to the field of guitar soundhole guides, and more specifically, to a classical guitar soundhole guide. Background Technology

[0002] The classical guitar, as a member of the stringed instrument family, boasts a long history and profound cultural heritage. Originating in 19th-century Spain, it quickly gained popularity among music lovers worldwide. Its unique feature lies in the use of nylon strings, which endow it with a mellow, warm, and rich tone, making it more suitable for playing delicate melodies and complex harmonies compared to steel-string guitars. The classical guitar is exquisitely constructed, typically using solid wood, including a large soundbox, a fixed bridge, and a wide, flat fingerboard—all designs that provide the player with excellent touch and sound projection. Furthermore, when playing the classical guitar, the player generally uses their fingers to pluck the strings directly, rather than a pick, for more precise control and expression. From the Baroque period to the modern era, countless composers have created a rich and diverse body of work for the classical guitar, making it an indispensable part of solo, chamber, and even orchestral performances.

[0003] In traditional guitar design, the soundhole is typically located in the center of the instrument's soundboard, and is a single, circular or near-circular opening. While this design is simple and classic, it has certain limitations in terms of acoustics. Because of the relatively simple design of the soundhole, it restricts the diffusion and resonance of sound, resulting in a somewhat monotonous sound in some situations, lacking rich layers and rhythmic variations. This can make the guitar's tone less full, especially when the transition between low and high frequencies is not smooth, potentially affecting the overall listening experience.

[0004] How to design a soundhole guide for a classical guitar to improve these problems has become an urgent issue for those skilled in the art. Utility Model Content

[0005] To overcome the above deficiencies, this utility model provides a sound guide for the soundhole of a classical guitar, aiming to improve the problems mentioned in the background.

[0006] This utility model is implemented as follows:

[0007] This utility model provides a soundbox for a classical guitar, including a soundbox, a neck, and a headstock. A bridge is fixedly connected to the outer wall of the soundbox. A fingerboard is fixedly connected to the neck, and a nut is fixedly connected to the top of the fingerboard. Multiple frets are provided on the outer wall of the fingerboard. Multiple strings are fixedly connected to the bridge. A circular soundhole is provided on the side wall of the soundbox and is located above the bridge. A primary soundbox is fixedly connected to the inner wall of the soundbox and has internal threads on its inner wall. A secondary soundbox is provided inside the primary soundbox. Both the primary and secondary soundboxes are cylindrical. The soundholes correspond to the positions of the primary soundboxes. A pick is fixedly connected to the inner wall of the secondary soundbox, and the picks are equidistantly arranged on the inner wall of the secondary soundbox.

[0008] Preferably, the soundbox is fixedly connected to the neck, the neck is integrally formed with the headstock, and the neck is located above the soundbox.

[0009] Preferably, the plurality of strings are arranged at equal intervals along the length of the bridge, and the plurality of strings are arranged in order from thinnest to thickest.

[0010] Preferably, both sides of the headstock are fixedly connected to a stabilizing plate, and multiple support plates are fixedly connected to the stabilizing plate. A worm gear is rotatably connected inside the support plate, and a tuning peg is fixedly connected to the end of the worm gear. Multiple through slots are opened on the headstock, and multiple tuning pegs are arranged in the through slots. The tuning pegs are rotatably connected to the headstock, and the tuning pegs are fixedly connected to the strings.

[0011] Preferably, a turbine is fixedly sleeved at the end of the chord shaft, and the worm gear meshes with the turbine.

[0012] Preferably, the outer wall of the main sound tube is fitted with a fastener, and the outer wall of the secondary sound tube is provided with an external thread, which is engaged with the internal thread.

[0013] Preferably, the inner wall of the secondary sound guide barrel is provided with a support member, and both the support member and the fastener are arranged in a circular shape.

[0014] The beneficial effects of this invention are as follows: by setting a main soundbox inside the tone hole, the main soundbox improves the airflow inside the resonance chamber, allowing the sound to be reflected and diffused more fully inside the instrument, thereby improving the overall resonance efficiency and making the sound fuller; when it is necessary to enhance or weaken a specific frequency band, the auxiliary soundbox is rotated by the dial, changing the length of the auxiliary soundbox extending inside the main soundbox, affecting the sound reflection path, enhancing or weakening the specific frequency band, so as to achieve a more balanced frequency response. Attached Figure Description

[0015] To more clearly illustrate the technical solutions of the embodiments of this utility model, the drawings used in the embodiments will be briefly introduced below. It should be understood that the following drawings only show some embodiments of this utility model and should not be regarded as a limitation of the scope. For those skilled in the art, other related drawings can be obtained from these drawings without creative effort.

[0016] Figure 1 This is a schematic diagram of the overall structure of the sound hole guide of a classical guitar provided by an embodiment of this utility model;

[0017] Figure 2 yes Figure 1 Enlarged view of point A in the middle;

[0018] Figure 3 yes Figure 1 Enlarged view of point B in the middle;

[0019] Figure 4 This is a schematic diagram of the internal structure of the soundbox and resonance chamber of a classical guitar, provided by an embodiment of this utility model.

[0020] Figure 5 yes Figure 4 Enlarged view of point C in the middle.

[0021] In the diagram: 1. Soundbox; 2. Neck; 3. Headstock; 4. Bridge; 5. Fingerboard; 6. Nut; 7. Frets; 8. Strings; 9. Soundhole; 10. Main soundbox; 11. Secondary soundbox; 12. Internal thread; 13. Stabilizer; 14. Support plate; 15. Worm gear; 16. Tuning pin; 17. Through slot; 18. Tuning pin; 19. Turret; 20. Fastener; 21. External thread; 22. Support; 23. Plectrum. Detailed Implementation

[0022] To make the objectives, technical solutions, and advantages of the embodiments of this utility model clearer, the technical solutions of the embodiments of this utility model will be clearly and completely described below with reference to the accompanying drawings. Obviously, the described embodiments are only some embodiments of this utility model, not all embodiments. Based on the embodiments of this utility model, all other embodiments obtained by those skilled in the art without creative effort are within the scope of protection of this utility model.

[0023] Example, refer to Figures 1-5A classical guitar soundbox includes a soundbox 1, a neck 2, and a headstock 3. A bridge 4 is fixedly connected to the outer wall of the soundbox 1. A fingerboard 5 is fixedly connected to the neck 2. A nut 6 is fixedly connected to the top of the fingerboard 5. Multiple frets 7 are provided on the outer wall of the fingerboard 5. Multiple strings 8 are fixedly connected to the bridge 4. A soundhole 9 is provided on the side wall of the soundbox 1. The soundhole 9 is circular and located above the bridge 4. A master soundbox 10 is fixedly connected to the inner wall of the soundbox 1. An internal screw is provided on the inner wall of the master soundbox 10. The main soundbox 10 has an auxiliary soundbox 11 inside it. Both the main soundbox 10 and the auxiliary soundbox 11 are cylindrical. The tone holes 9 correspond to the positions of the main soundbox 10. The inner wall of the auxiliary soundbox 11 is fixedly connected to a plectrum 23. The plectrum 23 is equidistantly arranged on the inner wall of the auxiliary soundbox 11. The soundbox 1 is fixedly connected to the neck 2. The neck 2 is integrally set with the headstock 3. The neck 2 is located above the soundbox 1. Multiple strings 8 are equidistantly arranged along the length of the bridge 4. The multiple strings 8 are arranged in order from thin to thick.

[0024] Stabilizing plates 13 are fixedly connected to both sides of the headstock 3. Multiple support plates 14 are fixedly connected to the stabilizing plates 13. Worms 15 are rotatably connected inside the support plates 14. Tuning knobs 16 are fixedly connected to the end of the worm 15. Multiple through slots 17 are provided on the headstock 3. Multiple tuning pegs 18 are provided in the through slots 17. Tuning pegs 18 are rotatably connected to the headstock 3 and fixedly connected to the strings 8. A worm gear 19 is fixedly sleeved at the end of the tuning peg 18. The worm 15 and the worm gear 19 are engaged. Fasteners 20 are sleeved on the outer side of the main soundbox 10. External threads 21 are provided on the outer side of the secondary soundbox 11. External threads 21 are engaged with internal threads 12. Support members 22 are provided on the inner side of the secondary soundbox 11. Both the support members 22 and the fasteners 20 are arranged in a ring shape.

[0025] The working principle of this classical guitar soundhole guide is as follows: When the player plucks the string 8 with their fingers or a pick, the string 8 begins to vibrate. Shorter, thinner, or more tensile strings will produce higher frequency vibrations, thus producing higher pitches; conversely, they will produce lower pitches. The vibration of the string 8 is transmitted to the soundbox 1 through the bridge 4. The soundbox 1 vibrates slightly with the string vibration, and the air inside it also vibrates according to a specific frequency, amplifying the original vibration of the string 8. The presence of the soundhole 9 allows this internally vibrating air to exchange with the outside air, thus effectively releasing and propagating the sound. By setting a master soundhole 10 inside the soundhole 9, the master soundhole 10 improves the airflow inside the soundbox 1, allowing the sound to be more fully reflected and diffused within the instrument. It can guide sound waves to be distributed more evenly throughout the entire resonance chamber 1, thereby improving the overall resonance efficiency and making the sound fuller. When it is necessary to enhance or weaken a specific frequency band, the auxiliary sound guide barrel 11 is rotated by turning the dial 23. Through the meshing of the internal thread 12 and the external thread 21, the length of the auxiliary sound guide barrel 11 extending into the main sound guide barrel 10 is changed. By changing the length of the entire sound guide barrel, the path of sound reflection is affected, enhancing or weakening a specific frequency band to achieve a more balanced frequency response, enhancing the expressiveness of the music, and allowing the listener to experience a more three-dimensional and vivid auditory experience.

[0026] The above description is merely a preferred embodiment of this utility model and is not intended to limit the utility model. Various modifications and variations can be made to this utility model by those skilled in the art. Any modifications, equivalent substitutions, or improvements made within the spirit and principles of this utility model should be included within the protection scope of this utility model.

Claims

1. A soundbox for a classical guitar, comprising a soundbox (1), a neck (2), and a headstock (3), characterized in that, A bridge (4) is fixedly connected to the outer wall of the resonator (1). A fingerboard (5) is fixedly connected to the neck (2). A nut (6) is fixedly connected to the top of the fingerboard (5). Multiple frets (7) are provided on the outer wall of the fingerboard (5). Multiple strings (8) are fixedly connected to the bridge (4). A sound hole (9) is provided on the side wall of the resonator (1). The sound hole (9) is circular and located above the bridge (4). The inner side of the resonator (1) A main sound tube (10) is fixedly connected to the wall. The inner wall of the main sound tube (10) is provided with an internal thread (12). A secondary sound tube (11) is provided inside the main sound tube (10). Both the main sound tube (10) and the secondary sound tube (11) are arranged in a cylindrical shape. The position of the sound hole (9) corresponds to that of the main sound tube (10). A dial (23) is fixedly connected to the inner wall of the secondary sound tube (11). The dial (23) is arranged at equal intervals on the inner wall of the secondary sound tube (11).

2. The sound guide for a classical guitar soundhole according to claim 1, characterized in that, The resonator (1) is fixedly connected to the neck (2), the neck (2) is integrally formed with the headstock (3), and the neck (2) is located above the resonator (1).

3. The sound guide for a classical guitar soundhole according to claim 1, characterized in that, The multiple strings (8) are arranged at equal intervals along the length of the bridge (4), and the multiple strings (8) are arranged in order from thin to thick.

4. The sound guide for a classical guitar soundhole according to claim 1, characterized in that, Stabilizing plates (13) are fixedly connected to both sides of the headstock (3). Multiple support plates (14) are fixedly connected to the stabilizing plates (13). A worm gear (15) is rotatably connected inside the support plates (14). A tuning peg (16) is fixedly connected to the end of the worm gear (15). Multiple through slots (17) are provided on the headstock (3). Multiple tuning pegs (18) are provided in the through slots (17). The tuning pegs (18) are rotatably connected to the headstock (3). The tuning pegs (18) are fixedly connected to the strings (8).

5. A sound guide for a classical guitar soundhole according to claim 4, characterized in that, The end of the chord shaft (18) is fixedly fitted with a turbine (19), and the worm (15) is meshed with the turbine (19).

6. A sound guide for a classical guitar tonehole according to claim 5, characterized in that, The outer wall of the main sound barrel (10) is fitted with a fastener (20), and the outer wall of the secondary sound barrel (11) is provided with an external thread (21), which is engaged with an internal thread (12).

7. A sound guide for a classical guitar tonehole according to claim 6, characterized in that, The inner wall of the secondary sound guide barrel (11) is provided with a support member (22), and both the support member (22) and the fastener (20) are arranged in a circular shape.

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