All-carbon fiber musical instrument body and forming method thereof

Abstract

The invention discloses a full-carbon-fiber musical instrument body and a forming method thereof, and relates to the technical field of musical instrument manufacturing, the full-carbon-fiber musical instrument body comprises a musical instrument body with a hollow resonance cavity, the musical instrument body is made of a fiber reinforced composite material through an integral forming process, and the fiber reinforced composite material is a carbon fiber reinforced composite material. The integrated forming process is a vacuum auxiliary forming process, and a reinforcing structure used for acoustic modulation is integrally formed on the inner surface of the guitar body. According to the full-carbon fiber musical instrument body and the forming method thereof, by adopting the fiber reinforced composite material and cooperating with the technical setting of the integrated forming process, the musical instrument body is changed from a traditional multi-wood splicing structure into a single integral structure, and the problems of deformation and cracking caused by moisture absorption expansion and drying shrinkage of wood are fundamentally solved; therefore, the effects of endowing the guitar body with excellent dimensional stability and weather resistance and keeping the tone stable for a long time are achieved.

Description

TECHNICAL FIELD

[0001] The present application relates to the technical field of musical instrument manufacturing, in particular to a full-carbon fiber musical instrument body and a forming method thereof. BACKGROUND

[0002] In the field of musical instrument manufacturing, traditional stringed instruments such as the Guqin and guitar have long relied on wood as the main structure. Wood has unique acoustic conduction properties and natural beauty, making it irreplaceable in musical instrument production. However, with the development of technology and the increasing demand for performance of musical instruments, the limitations of wood have become apparent. In particular, in situations requiring long-term preservation and frequent performance, wood musical instruments are easily affected by changes in temperature and humidity, leading to swelling due to moisture absorption, shrinkage due to drying, and further deformation and cracking, which seriously affect the stability of the sound quality and service life of the musical instrument.

[0003] To address the above problems, existing technologies attempt to slow down the deformation and cracking of musical instruments through strict wood selection, drying treatment, and subsequent maintenance. However, these methods do not fundamentally solve the problem of unstable physical properties caused by environmental changes in wood, especially in the high-end musical instrument market where sound quality needs to be precisely controlled and long-term stability needs to be maintained. The limitations of traditional wood musical instruments have become a bottleneck to their further development, thus necessitating improvement. SUMMARY

[0004] The purpose of the present application is to provide a full-carbon fiber musical instrument body and a forming method thereof to solve the problem of swelling due to moisture absorption, shrinkage due to drying, deformation, and cracking caused by changes in temperature and humidity in existing wood musical instrument bodies, which affects the stability of the sound quality and service life.

[0005] To achieve the above purpose, the present application provides the following technical solution: a full-carbon fiber musical instrument body, comprising a body with a hollow resonance cavity, the body being made of a fiber-reinforced composite material through an integrated forming process.

[0006] Further, the fiber-reinforced composite material is a carbon fiber-reinforced composite material.

[0007] Further, the integrated forming process is a vacuum-assisted forming process.

[0008] Further, the inner surface of the body is integrally formed with a reinforcing structure for acoustic modulation.

[0009] Further, the outer surface of the body is directly formed by a forming mold.

[0010] Further, the wall thickness of the body is non-uniformly distributed according to acoustic performance requirements.

[0011] A forming method of a full-carbon fiber musical instrument body, comprising the following steps:

[0012] S1, providing an integrated forming mold;

[0013] S2, laying fiber material in the cavity of the mold;

[0014] S3, combining and solidifying the matrix material and the fiber material through an integrated forming process to form the body of the zither;

[0015] S4, post-processing.

[0016] Further, in step S3, the integrated forming process is vacuum-assisted resin infusion molding.

[0017] Further, in step S2, by controlling the number or method of laying in different areas, the body of the zither forms a non-uniform distribution of wall thickness.

[0018] Further, in step S1, the cavity surface of the integrated forming mold is a mirror surface or a high light surface.

[0019] Compared with the prior art, the full-carbon fiber body and its forming method provided by the present application convert the body of the zither from a traditional multi-wood splicing structure to a single overall structure by using fiber-reinforced composite materials and cooperating with the technical arrangement of the integrated forming process, which fundamentally eliminates the deformation and cracking problems caused by wood swelling due to moisture absorption and drying shrinkage, thereby achieving the effects of giving the body of the zither excellent dimensional stability, weather resistance, and long-term stable tone.

[0020] By designing the outer surface of the body of the zither to be directly formed by the forming mold, and designing the internal acoustic structure (such as the reinforcing rib) to be integrally formed by the laying layer, the complex processes such as wood selection, drying, aging, lacquer coating, and manual carving and sticking of the sound hole, which are necessary for traditional wooden zithers, are completely abandoned, thereby achieving the conversion of the production mode of the zither from manual art production relying on the experience of craftsmen to standardized and streamlined industrial precision manufacturing, and realizing the revolutionary improvement of the production cycle from several years to several months to several days to several weeks.

[0021] By designing the non-uniform distribution of the wall thickness of the body of the zither based on the acoustic performance requirements (for example, locally thickening in the key stress area and forming an internal protruding structure by thickening in the acoustic modulation area), and combining with mold production, the geometric shape, mass distribution, and basic acoustic characteristics of each product can be accurately controlled, thereby achieving the effects of realizing high consistency of product performance, facilitating quality control, and pre-designing and optimizing adjustment of acoustic characteristics. BRIEF DESCRIPTION OF DRAWINGS

[0022] In order to more clearly illustrate the technical solutions in the embodiments of the present application or the prior art, the following will briefly introduce the drawings needed to be used in the embodiments. Obviously, the drawings described below only constitute some embodiments of the present application, and other drawings can also be obtained by those skilled in the art based on these drawings.

[0023] Figure 1 The method flowchart provided by the embodiment of the present application. DETAILED DESCRIPTION

[0024] In order to make those skilled in the art better understand the technical solutions of the present application, the present application will be further described in detail below with reference to the drawings.

[0025] As shown in the accompanying Figure 1 drawings:

[0026] Embodiment one:

[0027] The present application provides a full-carbon fiber body and a forming method thereof, comprising the following materials:

[0028] Reinforcing fiber: 3K plain carbon fiber fabric of T300 grade and surface density of 200 g / m2.

[0029] Matrix resin: two-component medium-temperature curing epoxy resin system.

[0030] Auxiliary materials: vacuum bag film, sealing rubber strip, flow guide net, release cloth, release agent (for example, semi-permanent fluorine-based release agent), breather cloth.

[0031] Mold: high-precision integrated split mold.

[0032] Material: the mold base is aluminum alloy of brand 6061.

[0033] Manufacture: first, according to the three-dimensional data of a standard Zhongni-style qin, three-dimensional modeling is carried out to generate an accurate mold cavity digital model containing the negative type of the resonance cavity. Then, a five-axis numerical control machining center (CNC) is used to mill the aluminum alloy blank to one-to-one copy out the female mold (corresponding to the back of the body) and the male mold (corresponding to the body panel). The mold parting surface is designed at the side of the body.

[0034] Surface treatment: after processing, the mold cavity surface is manually finely polished and polished until the mirror effect is achieved. The release agent is uniformly sprayed on the polished cavity surface, and the release layer is formed after complete curing.

[0035] Preparation steps:

[0036] S1. Material Pre-layout: Carbon fiber fabric is laid out according to a pre-designed plan within the cavity of the pre-demolded female mold. A symmetrical and balanced layup design is adopted, with the layup sequence being 0 / 90 / 45 / - / 45 / 90 / 0s (a total of 8 layers). All layers of carbon fiber fabric are cut to fit the shape of the cavity and laid and smoothed layer by layer to ensure no wrinkles and tight adhesion between layers.

[0037] S2. Vacuum Bag System Encapsulation: A release liner and a flow guide mesh are sequentially covered onto the laid carbon fiber preform. Then, a vacuum bag film is used to cover the entire mold cavity area, and the edges of the bag film are sealed to the mold with sealing strips to form a closed system. A resin injection pipe is placed at the beginning of the flow guide mesh, and a resin outlet pipe and a vacuum extraction pipe are placed at the end. After connecting all pipelines to the vacuum bag system, the vacuum pump is started to check for leaks and maintain a stable negative vacuum pressure (e.g., -0.095 MPa) to compact the preform and prepare for resin infusion.

[0038] S3, Vacuum-Assisted Resin Injection Molding (VARI) and Curing:

[0039] Resin Infusion: The pre-mixed and degassed epoxy resin system is introduced into the mold cavity through the injection pipe while maintaining a system vacuum. Guided by the vacuum pressure difference and the flow guide net, the resin smoothly impregnates the entire carbon fiber fabric from bottom to top and from one end to the other. Observe the resin flow at the leading edge and the condition of the outlet pipe. When a continuous stream of pure resin without bubbles appears in the outlet pipe, close the injection and outlet pipes.

[0040] Curing: The entire mold, along with the filled system, is placed in an oven and cured according to the curing process recommended by the resin supplier. This embodiment uses a stepped temperature curing method: first, initial gelation is achieved by maintaining the temperature at 60°C for 2 hours, followed by complete curing at 130°C for 4 hours. The entire curing process is carried out under vacuum.

[0041] S4. Demolding and Post-processing: After curing, close the oven and allow the mold to cool naturally to room temperature. Remove the vacuum bag system. Because the mold cavity has a high-gloss mirror surface and is coated with a release agent, the instrument body separates smoothly from the mold. The carbon fiber guqin body obtained after demolding is a single, continuous integral component, with its soundboard, baseboard, side walls, and part of the bridge root area seamlessly molded together.

[0042] The following post-processing is performed on the demolded instrument body:

[0043] Use hand tools or small CNC equipment to trim the burrs and resin runner marks on the edges of the instrument body.

[0044] For the main body of the instrument that has already been molded to a high-gloss finish, simply wipe it clean with a soft cloth. For the trimmed edge areas, use fine sandpaper (e.g., 800 to 2000 grit) to sand them and then polish them with polishing compound to make their gloss match that of the main body.

[0045] The instrument body prepared by the above method is a one-piece molded guqin body made entirely of carbon fiber. Its main characteristics and effects are as follows:

[0046] Structure: It is a single, seamless structure with a precisely hollow resonating chamber. Its outer surfaces (top and back) are directly molded from a high-gloss mold, exhibiting the texture and luster of carbon fiber fabric, without the need for subsequent lacquer application.

[0047] Materials: All are made of carbon fiber reinforced epoxy resin composite material.

[0048] Core technology: It is manufactured in one step using a vacuum-assisted resin injection molding (VARI) process.

[0049] Results: The instrument body completely eliminates the inherent defects of the wood, possesses extremely high dimensional stability and weather resistance, and is extremely insensitive to changes in environmental temperature and humidity. Its production process has been shortened from the traditional handcrafting cycle of several years to an industrialized production cycle measured in days (the molding and curing process can be completed within 1-2 days), and the product shape and quality are highly consistent.

[0050] Example 2:

[0051] The reinforcing fibers, matrix resin, auxiliary materials, mold materials and manufacturing methods used in this embodiment, as well as the vacuum-assisted resin injection molding (VARI) and curing process, are all the same as in Embodiment 1. The difference lies in the material layup design and the final internal structure of the mold.

[0052] Non-uniform layup design with acoustic features:

[0053] The carbon fiber layup within the negative mold cavity employs a non-uniform layup scheme based on acoustic simulation and structural mechanics analysis, aiming to integrally mold a piano body with internal reinforcement and acoustic control areas. The specific layup steps are as follows:

[0054] Basic structural layer laying: First, carbon fiber fabric forming the basic wall thickness is laid across the entire body of the instrument. In this embodiment, a layup sequence of 0 / 90 / ±450 / 90 / ±45 is used, with a total of 6 layers laid as the basic skeleton to ensure the overall structural strength.

[0055] Local reinforcement of key stress areas:

[0056] In the head area of ​​the instrument body corresponding to the installation position of the bridge, and in the tail area where the goose feet and dragon teeth are installed, these key parts that bear the tension of the strings are locally thickened.

[0057] In addition to the six layers already laid in the aforementioned areas, two extra layers of unidirectional carbon fiber strips in the 0° direction (along the longitudinal direction of the instrument body) are laid. During the additional laying, it is ensured that the unidirectional strips completely cover the critical areas and smoothly transition to the perimeter. This operation brings the final number of layers in these areas to eight.

[0058] Internal acoustic structure shaping – thickened area simulating sound absorption:

[0059] Inside the instrument, the area corresponding to the traditional sound-absorbing position of the guqin (usually located on the inner side of the bottom plate, in a specific area slightly behind the two sound holes, the Dragon Pool and the Phoenix Pond) is thickened to form an integrated internal acoustic structure reinforcement.

[0060] The specific operation involves laying additional carbon fiber fabric in a concentrated, dense, and continuous manner within the outline of the specific area. In this embodiment, an additional 10 layers of carbon fiber fabric are laid on top of the area where the basic 6-layer laying has already been completed.

[0061] These 10 additional layers are stacked vertically to form a thickened block with a locally prominent bulge. This thickened block occupies space in the mold, and after the resin is poured in and cured, it becomes a solid composite material reinforcement structure that bulges integrally from the inner wall of the instrument, functionally replacing and optimizing the traditional wooden "soundboard".

[0062] Surface covering layer laying: After completing all local thickening laying, two layers of carbon fiber fabric are laid as a smooth covering layer on the outermost layer (i.e. the inner surface of the future piano body) to make the internal thickened area transition smoothly with the surrounding base area and seal all the lay-up layers.

[0063] Summary of the plying results: Through the above design, the final instrument body exhibits a precise non-uniform distribution of wall thickness based on acoustic and structural performance requirements.

[0064] Most of the instrument body (basic wall thickness): 8 layers (6 basic layers + 2 covering layers).

[0065] Key stress-bearing areas such as Yueshan and Yanzu: 10 floors (6+2+2).

[0066] The corresponding acoustic structure area for the sound-absorbing element consists of 18 layers (6+10+2), forming a distinct internal raised rib.

[0067] Molding and post-processing: After completing the above layup design, the process parameters, equipment and operation procedures for subsequent vacuum bag system packaging, vacuum-assisted resin infusion and curing, as well as demolding and post-processing are exactly the same as those in Example 1.

[0068] During the curing process, the resin impregnates all the layers and binds the carbon fiber preforms of different thicknesses into a whole. After demolding, the exterior of the instrument body has a smooth surface, while the interior exhibits a morphology formed according to the layer design, including locally thickened areas and raised structures.

[0069] The method described in this embodiment produces a full carbon fiber guqin body with an integrated internal acoustic reinforcement structure. Building upon all the advantages of Embodiment 1, it further possesses the following features and effects:

[0070] Internal structural features: Inside the soundbox, there is a solid carbon fiber composite material reinforcing rib (protruding structure) integrally molded based on the sound-absorbing area. This structure is not glued on later, but is formed by the material curing simultaneously with the soundbox, resulting in a seamless interface and high strength.

[0071] Wall thickness distribution characteristics: In order to achieve specific acoustic and mechanical properties, the wall thickness of the instrument body is carefully designed to be non-uniformly distributed. Specifically, the key stress area is moderately thickened, and the acoustic control area is significantly thickened and forms an internal bulge.

[0072] Acoustic effects:

[0073] Acoustic modulation: The internally raised thickened structure (simulating and optimizing the sonic resonance) can effectively disturb the air vibration modes in the resonator, thereby regulating the resonance frequency, suppressing unnecessary high-frequency harmonics or excessively long reverberations, making the fundamental tone more prominent, and the timbre tends to be pure and clean.

[0074] Performance Consistency and Designability: This acoustic structure, achieved through molding and a layup process, ensures a high degree of consistency in the geometry and mass distribution of the internal structure of each instrument, thereby guaranteeing the stability of acoustic performance. Furthermore, by adjusting the layup scheme (such as the shape and number of layers in the thickened areas), acoustic performance can be pre-designed and precisely controlled.

[0075] Production advantages: This complex internal acoustic structure is achieved entirely through a one-piece molding process, eliminating the need for subsequent wood carving, component making and gluing, etc. This greatly simplifies the most complex and experience-dependent process of making the soundbox of the traditional guqin, representing a fundamental change in production methods.

[0076] Subsequent assembly: The subsequent assembly process for this instrument body is exactly the same as the subsequent assembly instructions in Example 1. The integrated design of the internal structure does not affect the installation of external accessories.

[0077] Comparative example:

[0078] This comparative example describes a typical method for preparing a wooden guqin based on traditional techniques, for comparison with the technical solutions and effects of Embodiments 1 and 2 of this invention.

[0079] Material:

[0080] wood:

[0081] Panel: Select paulownia wood (also known as tung wood) or cedar wood that is over 100 years old, has straight grain, and is thoroughly dried.

[0082] Baseboard: Made of hard, acoustically sound catalpa wood (also known as elm).

[0083] Accessory wood: The Yue Shan, Cheng Lu, Long Yin, and Yan Zu are made of hardwood, such as rosewood, padauk, or jujube wood.

[0084] Coatings: Natural lacquer (raw lacquer, cooked lacquer), deer antler powder (different particle sizes), tile ash.

[0085] Adhesives: Traditional fish glue or modern wood glue.

[0086] Strings: Traditional silk strings or modern steel / nylon strings.

[0087] Main tools and equipment: special woodworking tools for making lacquer, such as hand planes, chisels, files, shovels, and saws; woodworking workbenches and clamps; shade rooms (for curing lacquer in a constant temperature and humidity environment); and sandpaper (various grades from coarse to fine).

[0088] Preparation steps:

[0089] Step 1: Wood Pretreatment and Aging

[0090] The selected paulownia wood panel logs and catalpa wood base logs are sawn into thick boards.

[0091] Thick boards are placed in a dry, well-ventilated environment for natural drying. This process usually lasts 3 to 5 years to reduce the moisture content of the wood to a state that is in equilibrium and stable with the environment (about 8%-12%), preventing subsequent deformation and cracking.

[0092] After drying, the wood is stored in a silo for further aging for 1 to 2 years to allow its stress to be fully released and its properties to become more stable.

[0093] Step 2: Making the wooden body of the instrument (carving)

[0094] Rough finishing of the shape: Based on the piano template, draw the outline on the top and bottom plates, and use tools such as saws and planes to process the basic shape.

[0095] Creating the resonating cavity (groove): This is the most crucial and experience-dependent technical step.

[0096] On the inside of the panel, curved concave surfaces of varying depths and complex shapes are manually carved out using tools such as chisels and shovels to form the upper space of the resonator. It is necessary to continuously tap and listen to the sound based on the hardness and grain of the wood to determine the thickness and location of the chiseling, with the goal of making the various parts of the panel vibrate as expected while ensuring the structural strength.

[0097] Inside the base plate, corresponding spaces are carved out for the panels, and independent wooden "sound-absorbing" components (a raised square or round truncated pillar), as well as "heavenly pillars" and "earthly pillars" (two wooden pillars that support and transmit vibrations) are hand-carved and glued on. These components are all glued to specific locations on the base plate with wood glue.

[0098] Joining the zither: Apply fish glue to the edges of the processed soundboard and backboard, align them precisely, and then bind them with ropes under pressure. Wait for the glue to fully cure (usually several days) to form a hollow wooden body.

[0099] Installation of accessory blanks: Grooves and holes are cut and drilled in the corresponding positions on the instrument body, and wooden blanks such as the bridge, nut, dragon teeth, crown corner, and tailpiece are glued together.

[0100] Step 3: Lacquer application (applying lacquer)

[0101] This process is extremely complex and time-consuming, and its purpose is to protect the wooden core, decorate the surface, and further tune the sound.

[0102] Applying linen / cloth: Linen cloth is applied to the surface of the wooden core and then glued with raw lacquer. After drying, it is sanded smooth to enhance the strength of the wooden core and prevent cracking. This step is sometimes omitted at the request of the musician.

[0103] Applying gray coat: This is the most important multi-layer coating process.

[0104] The raw lacquer is mixed with deer antler powder of different particle sizes (coarse, medium, and fine) and tile ash to form a "gray base," which is then scraped and applied to the entire surface of the instrument in multiple applications (usually at least three: coarse ash, medium ash, and fine ash).

[0105] Each coat needs to be placed in a shaded room to air dry for several days to a week under specific temperature and humidity conditions (approximately 25°C and 80% humidity). After drying, carefully sand it smooth with wet sandpaper. This process is repeated, and the total time can take several months or even more than half a year.

[0106] Painting and polishing: Apply multiple layers (at least 5-8 layers) of refined lacquer (or colored lacquer) to the smoothed gray base surface with a brush.

[0107] Each coat of paint needs to be dried in the shade for several days and then carefully sanded with fine sandpaper or brick mortar.

[0108] Finally, the lacquer is repeatedly polished by hand with vegetable oil and fine tile ash or deer antler powder until it achieves a warm, jade-like luster. The entire lacquering and polishing process can take up to a year or longer.

[0109] Step 4: Assembly and Tuning

[0110] Install metal fittings: After the lacquer is completely dry (which may take several months), install the frets and tuning pegs.

[0111] Zhang Xian: Put on the strings and make initial tuning by moving the velvet buckle on the "Yueshan" and adjusting the "Qinzhen".

[0112] "Awakening" the instrument and fine-tuning: Newly made instruments need to be played for a long time (from several months to several years) (i.e., "awakening") for their tone to gradually stabilize and become mellow. During this period, the luthier may also need to make minor readjustments to the instrument (such as fine-tuning the soundbox and adjusting the "soundboard") to achieve the final ideal tone.

[0113] The resulting products and their characteristics:

[0114] Structure: It is a composite splicing structure made of various types of wood through gluing and binding. The front panel, base plate, internal "soundproofing", "top and bottom pillars", etc. are all independent components glued together, with glued interfaces.

[0115] Surface: A composite surface covered with multiple layers of lacquer and ash coating.

[0116] Production cycle: From the drying of the wood to the final completion, the total cycle is extremely long, usually 3 to 8 years or even longer, and it depends heavily on the personal skills and experience of the craftsmen.

[0117] Performance defects:

[0118] High environmental sensitivity: The wood and lacquer layer are extremely sensitive to changes in environmental temperature and humidity, which can easily lead to deformation, cracking, wrinkling or peeling of the lacquer, which in turn can cause pitch drift and changes in tone.

[0119] High maintenance costs: It needs to be used and stored in an environment with constant temperature and humidity, and requires regular maintenance.

[0120] Poor consistency: Each instrument is an independent handmade work, with significant differences in geometry, mass distribution, and especially acoustic performance (timbre), making standardization difficult.

[0121] Dependent on scarce resources: It relies on specific tree species and ages of wood and natural lacquer. Resources are limited, and some processes can affect the health of craftsmen (lacquer allergies).

[0122] Comparison and summary:

[0123] By comparing Example 1 (basic all-carbon fiber monolithic molding) and Example 2 (with optimized acoustic structure) with this comparative example (traditional wood processing), the beneficial effects claimed by this invention can be clearly and directly demonstrated:

[0124] Materials and Structure: This invention uses a single carbon fiber composite material, integrally molded without adhesive; while the comparative example uses multiple types of wood spliced ​​and glued together. This fundamentally solves the problems of wood's susceptibility to deformation, structural fragility, and interface failure.

[0125] Process and cycle time: This invention employs a standardized mold-forming process, with core steps completed within a few days; in contrast, the comparative method relies entirely on manual, sequential, and lengthy processes, with cycles measured in years. This demonstrates the revolutionary improvement in production efficiency achieved by this invention.

[0126] Stability and Consistency: The product of this invention exhibits stable dimensions, strong weather resistance, and consistent performance; while the comparative product is environmentally sensitive, volatile, and varies from piece to piece. This demonstrates the significant technological advancement of this invention in solving the problems of poor stability and consistency in traditional guqin (a seven-stringed zither).

[0127] Acoustic structure realization: Embodiment 2 of the present invention directly and precisely forms the internal acoustic structure during molding through a layered design; while the comparative embodiment requires hand-carving and gluing of individual wooden components. This demonstrates the simplification, precision, and reliability of the present invention in the manufacture of complex structures.

[0128] The foregoing has only described certain exemplary embodiments of the present invention by way of illustration. Undoubtedly, those skilled in the art can modify the described embodiments in various ways without departing from the spirit and scope of the present invention. Therefore, the foregoing drawings and descriptions are illustrative in nature and should not be construed as limiting the scope of protection of the claims of the present invention.

Claims

1. A full carbon fiber piano body, comprising a body with a hollow resonating cavity, characterized in that, The instrument body is made of fiber-reinforced composite material using a one-piece molding process.

2. The all-carbon fiber piano body according to claim 1, characterized in that, The fiber-reinforced composite material is a carbon fiber-reinforced composite material.

3. The all-carbon fiber piano body according to claim 1, characterized in that, The integral molding process is a vacuum-assisted molding process.

4. The all-carbon fiber piano body according to claim 1, characterized in that, The inner surface of the instrument is integrally formed with a reinforcing structure for acoustic modulation.

5. The all-carbon fiber piano body according to claim 1, characterized in that, The outer surface of the instrument body is formed directly by a molding die.

6. The all-carbon fiber piano body according to claim 1, characterized in that, The wall thickness of the instrument body is non-uniformly distributed according to acoustic performance requirements.

7. A method for molding a full carbon fiber piano body, applicable to a full carbon fiber piano body as described in any one of claims 1 to 6, characterized in that, Includes the following steps: S1. Provide one-piece molding mold; S2. Lay fiber material inside the cavity of the mold; S3. The matrix material and fiber material are combined and cured through an integral molding process to form the instrument body; S4. Perform post-processing.

8. The molding method for a full carbon fiber piano body according to claim 7, characterized in that, In step S3, the integral molding process is vacuum-assisted resin injection molding.

9. The molding method for a full carbon fiber piano body according to claim 7, characterized in that, In step S2, by controlling the number or method of layup in different areas, the wall thickness of the instrument body is made to form a non-uniform distribution.

10. The molding method for a full carbon fiber piano body according to claim 7, characterized in that, In step S1, the cavity surface of the one-piece molding die is a mirror surface or a high-gloss surface.

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