Playing comb

Abstract

The invention relates to the technical field of comb products, in particular to a playing comb which comprises comb teeth, a sound bridge, a comb back, comb wings, a sound name note sticker and a singing name note sticker, the comb teeth are divided into first comb teeth and second comb teeth, the first comb teeth only have the corresponding functions of combing hair and the like, and the second comb teeth have the function of playing and sounding besides the function of the first comb teeth. The comb teeth of the playing comb are the first comb teeth and the second comb teeth or all the comb teeth are the second comb teeth; the second comb teeth are coated with colors corresponding to musical scales, musical names and singing name notes, and are provided with tone tuning holes and tone guide sections, and the lengths and the thicknesses are matched according to the requirements of the pitches and the musical scales; one side of the sound bridge is connected with the second comb teeth, and the other side of the sound bridge is connected with the diffraction body or the resonance hole on the comb back; the comb wings are positioned on two sides of the comb teeth and connected with the comb back; the phonetic name and singing name note stickers are pasted on the comb back at the positions corresponding to the second comb teeth or needed phonetic name and singing name notes are carved on the comb back at the positions corresponding to the second comb teeth. According to the playing comb, the playing sounding function and purpose are added on the basis of the functions and purposes of comb straightening, maintenance, health, etiquette and emotional care, so that the comb has musical instrument attributes, the experience feeling of audiences is enriched and improved, and the requirements of people for advocating application, pursuing novelty, achieving multiple purposes, multiple shapes and multiple functions are met; and meanwhile, processing is convenient, and the method is suitable for intelligent machine manufacturing and traditional manual and semi-manual production process manufacturing.

Description

Technical Field

[0001] This invention patent relates to the technical field of comb products, and particularly relates to a playing comb. Background Art

[0002] As a daily necessity with a long history, seemingly simple yet indispensable, the uses of a comb are far more than just smoothing hair. Firstly, in terms of the basic physical uses of smoothing and styling, its most core and original function is to comb hair strands to untangle knotted hair, making the hair smooth and neat for subsequent grooming. Secondly, the functions of health and maintenance are what modern people increasingly value. Scalp massage and health care promote blood circulation. Gently pressing and combing the scalp with the round and blunt teeth of a comb can stimulate head acupoints, relax nerves, and relieve fatigue. If you comb your hair slowly before going to bed, it has the effect of calming the nerves and promoting sleep. Using a natural bristle comb can evenly distribute the natural oil (sebum) secreted by the scalp to the hair tips, acting as a natural hair conditioner, making the hair shiny and removing some dust, exfoliated old cutin on the scalp and hair. Thirdly, in terms of ceremony, culture, and emotional uses, it plays a prominent role in etiquette and adornment. In many cultures, a neat coiffure is part of etiquette and status (such as the "栉" in ancient China); the hair comb itself can be used as a hair ornament, inserted into the hair as a decoration (such as the traditional hair combs and hairpins in Spain and Japan). The comb is an important token in life ceremonies: In Chinese wedding customs, there are blessings like "comb from beginning to end, comb for white hair reaching the eyebrows, comb for having many descendants"; when a mother combs her daughter's hair before marriage, it implies a good marriage; coming-of-age ceremonies and hair-tying ceremonies symbolize growth, commitment, and connection; and the comb is a carrier of emotional connection. When parents comb their children's hair, it is a manifestation of family affection and care. When partners give or comb each other's hair, it is an expression of an intimate relationship. As an object carrying memories, an old comb may carry the memory of a departed person. Thus, it can be seen that the development of the diversity of comb functions and uses at all times and in all countries is inseparable from people's needs, longings, and empowerment for a better life, and it is the result of being born in response to needs.

[0003] From this, it can be known that after thousands of years of evolution at home and abroad, combs have achieved outstanding achievements in terms of practical comfort, structural design, material use, production techniques, and aesthetic appearance. Especially in China, the design and production techniques are extremely ingenious. With the smooth and flowing artistic conception of the comb, the delicate and exquisite appearance, and the rare and exquisite materials, the tradition of using combs as gifts, expressing aspirations, and conveying emotions has endured.

[0004] As people's aspirations for a better life continue to rise and their pursuit of diverse and multifunctional objects becomes increasingly apparent, the desire for combs to have multiple uses, multiple forms, and multiple functions has become a new interpretation of their practicality, versatility, functionality, and aesthetics. This reflects the needs of our times, people's genuine and simple demands, and the direction designers are striving for. In response, the inventor of this patent, drawing on personal experience and extensive reading, deeply reflected on what they saw, heard, and used in daily life with combs. Through reviewing materials, literature, and conducting novelty searches, the inventor gradually conceived and filed this patent application. Invention Patent Content

[0005] The technical problem to be solved by this invention is to provide a performance comb that, in addition to the functions and uses of combing, maintaining, promoting health, etiquette, and emotional care, adds the function and use of playing music, giving the comb the attributes of a musical instrument. This enriches and enhances the user experience and meets people's needs for practicality, novelty, multi-purpose, multi-form, and multi-functional items. At the same time, it is easy to process and suitable for intelligent mechanical manufacturing as well as traditional handmade and semi-handmade production processes.

[0006] The technical solution adopted by this invention patent to solve its technical problem is: a playing comb, including comb teeth, a bridge, a comb back, comb wings, note names and solfège note stickers. The comb teeth are divided into first comb teeth and second comb teeth. The first comb teeth only have the corresponding functions of combing hair, while the second comb teeth have the functions of the first comb teeth as well as the function of playing and producing sound. The comb teeth of the playing comb are the first comb teeth plus the second comb teeth, or all of the comb teeth are the second comb teeth. The second comb teeth are coated with the colors of the corresponding scale note names and solfège notes and are provided with tuning holes and guide segments, and the length and thickness are matched according to the pitch and scale requirements. The sound bridge is connected to the second comb tooth on one side and to the diffractor or resonance hole on the comb back on the other side; the comb wings are located on both sides of the comb tooth and connected to the comb back; the note names and solfège notes are pasted on the comb back and corresponding to the second comb tooth or carved on the comb back corresponding to the second comb tooth.

[0007] Furthermore, the arrangement of the comb teeth is designed to meet the requirements of combing hair, comb body shape, and playing sound. Specifically, the tips of the comb teeth are arranged in a linear pattern such as dotted straight lines, dotted arcs, or dotted wavy lines, while the shape of the comb teeth roots is arranged according to the length of the comb teeth and the requirements of pitch and scale.

[0008] Furthermore, based on the principle that the pitch is determined by the length and thickness of the pick on a plucked instrument, there are three combinations of matching the length and thickness of the comb teeth: the first is a combination where the thickness of the second comb teeth is the same but the length is different; the second is a combination where the length of the second comb teeth is the same but the thickness is different; and the third is a combination that takes into account both the thickness and length of the second comb teeth. A matching combination can be selected as needed to meet the requirements of the comb shape, pitch, and scale.

[0009] Furthermore, the blunt tip of the second comb tooth is semi-circular or elliptical, the inner wall of the tuning hole on the second comb tooth is smooth, and its shape, size and position are determined according to the pitch requirements of the scale and the material properties of the second comb tooth. The area between the tuning hole and the root of the second comb tooth is the tone guide section of the second comb tooth, and the root of the second comb tooth is connected to the tone bridge or the back of the comb.

[0010] Furthermore, the second comb teeth of the playing comb are coated with seven colors—red, orange, yellow, green, cyan, blue, and purple—corresponding to the seven alto solfège notes 1 (Do), 2 (Re), 3 (Mi), 4 (Fa), 5 (Sol), 7 (Si) along a length from the tip to the root of each second comb tooth. For solfège notes, one or two dots are added to the comb tooth surface above the color of the corresponding solfège note, and for bass solfège notes, one dot is added to the comb tooth surface below the color of the corresponding solfège note.

[0011] There are four ways to connect the second comb teeth, the sound bridge, and the comb back: the first is that the second comb teeth, the sound bridge, and the comb back are three parts connected in sequence on the same piece of material; the second is that the second comb teeth and the sound bridge are two parts connected to the comb back on the same piece of material; the third is that the second comb teeth are connected to the comb back; the fourth is that the second comb teeth, the sound bridge, and the comb back are three independent pieces of material connected in sequence; the materials of the second comb teeth, the sound bridge, and the comb back may be the same or different.

[0012] Furthermore, the resonance hole on the comb back is a through hole or a blind hole with a smooth inner wall and a regular chamfered outer edge. The depth, shape, and size of the hole are determined according to the sound effect requirements. The diffractor has a uniform texture and a smooth surface and is placed in the same position as the resonance hole or only one of the two is used. When placed in combination, the end face of the diffractor is flush with or concave to the surface of the comb back.

[0013] The key manufacturing processes and methods for playing combs are as follows: First, the basic functions of the comb, its instrumental function, its shape and playability, the materials, acoustic properties, length, thickness, and arrangement of the first and second comb teeth, and the connection between the first and second comb teeth and the bridge or back of the comb are designed and demonstrated. Second, the material, acoustic properties, and performance of the playing comb, including its portability and playability, are tested and verified. This process mainly includes: testing and verifying whether the material used for the second comb teeth has high density, high uniformity, good elasticity, moderate hardness, and machinability; testing whether it can produce a "clear" and pleasant musical tone in terms of acoustic performance; and verifying whether the shape is easy to carry and hold, and whether it is easy to play with fingers and nails. Finally, the design scheme, processing method, and quality control process are solidified after optimizing the design scheme, improving the processing method, and quality control procedures.

[0014] Furthermore, the second comb teeth, the bridge, and the comb back are processed and assembled in four ways: the first is to process them from a single piece of material; the second is to process and assemble the second comb teeth and the bridge as a single unit, and then process and assemble them separately from the comb back; the third is to process and assemble the second comb teeth and the comb back separately; and the fourth is to process and assemble the second comb teeth, the bridge, and the comb back independently. When the parts are connected separately, the second comb teeth are connected to the bridge or the comb back by interference fitting to ensure reliable contact of the connection surfaces. Based on the characteristics of the above processing and assembly methods, the equipment and processes used are determined, and fully automated intelligent manufacturing is preferred to facilitate quality control management with efficiency and consistent quality. Handmade production has its uniqueness and is suitable for small-batch or exclusive comb products. The production process is the creative path of the comb work, incorporating the craftsman's skills, emotions, and spontaneity, which also creates the unique characteristics of the work.

[0015] Furthermore, the production of the performance comb, whether in mass production or small-scale handmade production, requires strict control over its most basic combing and hair care functions, as well as the material properties and performance performance of the performance comb. Quality control combines spot checks and random checks to ensure the quality and performance of the performance comb products.

[0016] The beneficial effects of this invention patent are:

[0017] This invention relates to the multi-functionality of a performance comb. In addition to its basic functions of combing, maintaining health, etiquette, and emotional well-being, the performance comb also incorporates a performance function. Its compact and elegant design makes it easy to carry and play instantly. It can be held with one or both hands, and the second comb tooth can be plucked with the fingernail. Due to the relatively narrow space between the comb teeth, the range of motion of the fingers is limited. This unique characteristic creates an extraordinary playing style and musical sound. A light, ethereal sound is produced when the fingers pluck horizontally, while simultaneously improving finger coordination and promoting mental well-being. These features—performance, playing style, sound characteristics, and the ability to improve finger dexterity and promote mental well-being—enrich and enhance the user experience, satisfying people's needs for practicality, novelty, multi-purpose, multi-faceted, and multi-functional items.

[0018] In terms of multi-faceted design, this invention of the performance comb incorporates musical instruments and color elements into the traditional comb, making the comb's shape more diverse. Even though the comb's shape remains the same, the addition of details, such as the scale-like arrangement of the comb teeth, the seven colors corresponding to the solfège notes on the comb teeth, the diffractors on the back of the comb, the resonance holes, and the presence of solfège note stickers, greatly enriches the fusion of the comb's shape and musical instrument elements, making the comb's shape and connotation more artistic.

[0019] This invention is based on the fusion of the original attributes of a comb and the attributes of a musical instrument. The newly added attributes of a musical instrument greatly enhance the functional and artistic value of the comb as a carrier of musical instrument attributes. At the same time, it injects musical instrument, music theory knowledge and manufacturing techniques into the comb industry, promotes the upgrading of the industry, and provides opportunities for cross-industry employment for skilled talents, designers and other talents. It has good musical, cultural, economic and social value.

[0020] Because the shape of the comb and the area on it limit the size of the solfège notes, making them difficult to identify, the use of color to correspond to the solfège notes significantly improves their recognizability. At the same time, it also gives the sound a corresponding color, creating a close connection between color and sound. It is also a beautiful fusion of hearing and sight. The empowerment of color and sound allows the beauty of color and the beauty of music to be so closely integrated and presented in their beauty.

[0021] The playing comb of this invention is an everyday item. Among everyday items, a comb with a classic design, superior materials, elegant shape, and exquisite workmanship is one of the few daily necessities that can be used for a lifetime and passed down through generations. The addition of the finger playing and sound-producing function undoubtedly injects it with a rich musical instrument connotation, which is the icing on the cake, making the playing comb of this invention more valuable for use, collection, and inheritance. The playing comb of this invention is suitable for various playing combs made of materials with high density, high uniformity, good elasticity, moderate hardness and machinability, and good acoustic performance, especially playing combs made of natural animal and plant materials, metals and non-metals, such as wood, bamboo, bone and horn materials, as well as carbon steel, metal alloys, etc.

[0022] The present invention, by incorporating elements of playing musical instruments, achieves cross-domain and leapfrog functionality. It is believed that with further exploration and discovery of its potential advantages, new discoveries and inventions based on this invention will be born.

[0023] The advantages of the present invention will be set forth in part in the description which follows, and will become apparent from the description or be learned by practice of the invention. Instruction manual illustrations

[0024] Figure 1 This is a front view of Embodiment 1 of the present invention;

[0025] Figure 2 yes Figure 1 Sectional view along axis AA;

[0026] Figure 3 yes Figure 1 BB-direction sectional view;

[0027] Figure 4 This is a front view of Embodiment 2 of the present invention;

[0028] Figure 5 yes Figure 4 Sectional view along axis AA;

[0029] Figure 6 yes Figure 4 BB-direction sectional view;

[0030] Figure 7 This is a front view of Embodiment 3 of the present invention;

[0031] Figure 8 yes Figure 7 Sectional view along axis AA;

[0032] Figure 9 yes Figure 7 BB-direction sectional view;

[0033] Figure 10 This is a front view of Embodiment 4 of the present invention;

[0034] Figure 11 yes Figure 10 Sectional view along axis AA;

[0035] Figure 12 These are the front view and left sectional view of the second comb tooth in Embodiment 4 of the present invention;

[0036] Figure 13 yes Figure 10 BB-direction sectional view;

[0037] Figure label:

[0038] Playing comb 100;

[0039] 10 comb teeth;

[0040] First comb tooth 11;

[0041] Second comb tooth 12

[0042] Tuning hole 13;

[0043] Leading segment 14;

[0044] The note is colored 15;

[0045] Sound bridge 20;

[0046] Comb back 30

[0047] Diffractor 31;

[0048] Resonance hole 32;

[0049] Comb wings 40;

[0050] 50 solfège note stickers; Detailed Implementation

[0051] The embodiments of the present invention are described in detail below. Examples of these embodiments are shown in the accompanying drawings. The embodiments described below in conjunction with the drawings are exemplary and intended to explain the present invention, but should not be construed as limiting the present invention. All other embodiments obtained by those skilled in the art based on the embodiments of the present invention without creative effort are within the scope of protection of the present invention.

[0052] In the description of this invention, it should be understood that the terms "side", "above", "arrangement", "dot", "rectangle", "crescent", "ellipse", "circle", etc., indicating the orientation or positional relationship or shape, are based on the orientation or positional relationship and shape features shown in the accompanying drawings, and are only for the convenience of describing this invention and simplifying the description, and therefore should not be construed as limiting this invention.

[0053] Furthermore, the terms "first" and "second" are used for descriptive purposes only and should not be construed as indicating or implying relative importance.

[0054] In this invention, unless otherwise explicitly specified and limited, the terms “connected” and “linked” should be interpreted broadly. For example, it can refer to the connection of two or more parts of an object, or it can be a detachable connection or an integral connection.

[0055] Further explanation is needed regarding the functions of some comb components in this invention: 1. The sound bridge is located on the back of the comb near the second comb tooth. Its function is to transmit the sound produced by plucking the second comb tooth to the diffractor or resonance hole through the sound bridge; 2. The diffractor embedded on the back of the comb is designed based on the phenomenon of diffraction when sound encounters obstacles during propagation. It aims to change the transmission of sound on the back of the comb to cause diffraction, thereby slightly altering the sound effect; 3. The resonance hole is designed to allow the sound produced by playing the comb tooth to resonate slightly on the back of the comb, thereby altering the sound effect; 4. Similarly, the tuning holes and guide segments on the comb tooth are designed to slightly alter the sound quality by adjusting the thickness and effective length of the comb tooth.

[0056] The specific implementation methods are described in detail below.

[0057] This invention relates to a performance comb 100, comprising comb teeth 10, a bridge 20, a comb back 30, comb wings 40, and note name and solfège note stickers 50. The comb teeth 10 are divided into first comb teeth 11 and second comb teeth 12. The first comb teeth 11 only have the function of combing hair, while the second comb teeth 12, in addition to the function of the first comb teeth 11, also have the function of playing and producing sound. The comb teeth 10 of the performance comb 100 can be either the first comb teeth 11 plus the second comb teeth 12, or all of the comb teeth 10 can be the second comb teeth 12. The second comb teeth 12 are coated with the colors 15 corresponding to the note names and solfège notes of the scale, and are provided with tuning holes 13 and guide sections 14, with their length and thickness matched according to pitch and scale requirements. The sound bridge 20 is connected to the second comb tooth 12 on one side and to the diffractor 31 or resonance hole 32 on the comb back 30 on the other side; the comb wings 40 are located on both sides of the comb tooth 10 and connected to the comb back 30; the note name and solfège note stickers 50 are pasted on the comb back 30 at the corresponding positions of the second comb tooth 12 or the required note name and solfège note are carved on the comb back 30 at the corresponding positions of the second comb tooth 12.

[0058] The arrangement of the comb teeth 10 of the playing comb 100 is arranged to meet the requirements of combing hair, comb body shape and playing sound. Specifically, the tip arrangement of the comb teeth 10 is in the form of dotted straight lines, dotted arcs, dotted wavy lines, etc., and the shape of the root arrangement of the comb teeth 10 is arranged according to the length of the second comb teeth 12 and the requirements of pitch and scale.

[0059] According to the principle that the pitch is determined by the length and thickness of the pick of a plucked instrument, there are three matching combinations of the length and thickness of the second comb tooth 12 of the playing comb 100: the first is a matching combination where the thickness of the second comb tooth 12 is the same but the length is different; the second is a matching combination where the length of the second comb tooth 12 is the same but the thickness is different; and the third is a mixed matching combination that takes into account both the thickness and length of the second comb tooth 12. A matching combination can be selected as needed to meet the requirements of the playing comb type, pitch, and scale.

[0060] The blunt tip of the second comb tooth 12 is semi-circular or elliptical. The inner wall of the tuning hole 13 on the second comb tooth 12 is smooth. Its shape, size and position are determined according to the pitch requirements of the scale and the material properties of the second comb tooth. The tuning hole 13 and the root of the second comb tooth form the sound guide section 14 of the second comb tooth 12. The root of the second comb tooth 12 is connected to the bridge 20 or the back of the comb 30.

[0061] The second comb teeth 12 of the playing comb 100 are coated with seven colors of red, orange, yellow, green, cyan, blue, and purple, corresponding to the seven alto solfège notes 1 (Do), 2 (Re), 3 (Mi), 4 (Fa), 5 (Sol), 6 (La), and 7 (Si) of the scale, along a length from the tip to the root of each second comb tooth 12. For the solfège notes, one or two dots are added to the comb tooth surface above the color of the corresponding solfège note on the second comb tooth 12, and one dot is added to the comb tooth surface below the color of the corresponding solfège note on the second comb tooth 12.

[0062] There are four ways to connect the second comb tooth 12, the sound bridge 20, and the comb back 30: the first is that the second comb tooth 12, the sound bridge 20, and the comb back 30 are three parts connected sequentially on the same piece of material; the second is that the second comb tooth 12 and the sound bridge 20 are two parts connected to the comb back 30 on the same piece of material; the third is that the second comb tooth 12 is connected to the comb back 30; the fourth is that the second comb tooth 12, the sound bridge 20, and the comb back 30 are three independent pieces of material connected sequentially; the second comb tooth 12, the sound bridge 20, and the comb back 20 may be made of the same or different materials.

[0063] The resonance hole 32 on the comb back 30 is a through hole or a blind hole with a smooth inner wall and a regular chamfered outer edge. The depth, shape and size of the hole are determined according to the sound effect requirements. The diffractor 31 has a uniform texture and a smooth surface and is placed in the same position as the resonance hole 32 or only one of the two is used. When placed in the same position, the end face of the diffractor 31 is flush with or concave to the surface of the comb back 30.

[0064] The key processes and methods for manufacturing the playing comb 100 first involve designing and demonstrating the basic functions, instrument functions, comb shape and playability, materials, acoustic properties, length, thickness, and arrangement of the first comb teeth 11 and the second comb teeth 12, as well as the connection between the first comb teeth 11 and the second comb teeth 12 and the bridge 20 or the comb back 30. Secondly, the process focuses on physical testing and verification of the material, acoustic properties, and performance of the second comb teeth 12 in terms of portability and playability. This process mainly includes testing and verifying whether the material used for the second comb teeth has high density, high uniformity, good elasticity, moderate hardness, and machinability; testing whether it can produce a "clear" and pleasant musical tone in terms of acoustic performance; and verifying whether the shape is easy to carry and hold, and whether it is easy to play with fingers and nails. Finally, the design scheme, processing method, and quality control process are solidified after optimizing the design scheme, improving the processing method, and quality control procedures.

[0065] The second comb tooth 12, the sound bridge 20, and the comb back 30 of the comb are processed and assembled in four ways: the first is to process and form them from a single piece of material; the second is to process and assemble the second comb tooth 12 and the sound bridge 20 as a single unit and then separately process and assemble them with the comb back 30; the third is to process and assemble the second comb tooth 12 and the comb back 30 separately; and the fourth is to process and assemble the second comb tooth 12, the sound bridge 20, and the comb back 30 independently. When the parts are connected separately, the second comb tooth is inserted into the sound bridge or the comb back using an interference fit to ensure reliable contact of the connection surface. Based on the characteristics of the above processing and assembly methods, the equipment and processes used are determined. Fully automated intelligent manufacturing is preferred to facilitate quality control management with efficiency and consistent quality. Handmade manufacturing has its uniqueness and is suitable for small-batch or exclusive comb products. The production process is the creative path of the comb work, incorporating the craftsman's skills, emotions, and spontaneity, which also creates the unique characteristics of the work.

[0066] The performance combs, whether mass-produced or handcrafted in small quantities, require strict control over their most basic combing and hair care functions, as well as the material properties and sound production performance. Quality control combines spot checks and random sampling to ensure the quality and performance of the performance combs.

[0067] In summary, this invention, the Playing Comb, starts with the structure of the comb body. Based on the basic function of combing and maintaining hair health, it explores the potential functions of its structure, combining the comb teeth for combing hair with playable comb teeth, giving the Playing Comb the attributes of a musical instrument. This small, exquisite, and portable pocket comb transcends its function as a pocket musical instrument, producing a soft, clear, and "ethereal" sound, which is very suitable for relaxing the mind and increasing the sense of pleasure and happiness in life. Therefore, this performance comb, in addition to its functions and uses of combing, maintaining health, etiquette, and emotional care, has added the function and use of playing music, giving the comb the attributes of a musical instrument. This enriches and enhances the audience's experience and meets people's needs for practicality, novelty, multi-purpose, multi-form, and multi-functional items. At the same time, it is easy to process and suitable for intelligent mechanical manufacturing as well as traditional hand and semi-handmade production processes.

[0068] The present invention will be further described below with reference to the accompanying drawings and embodiments.

[0069] Example 1

[0070] like Figure 1 , Figure 2 , Figure 3As shown, the playing comb 100 includes comb teeth 10, a bridge 20, a comb back 30, comb wings 40, and solfège note stickers 50. The comb teeth 10 of the playing comb 100 are divided into two types, namely a first comb tooth 11 and a second comb tooth 12. The second comb tooth 12 is coated with the color 15 of the corresponding solfège note. The bridge 20 is connected to the second comb tooth 12 on one side and to the diffractor 31 on the comb back 30 on the other side. The comb wings 40 are located on both sides of the comb teeth 10 and connected to the comb back 30. The solfège note stickers 50 are pasted on the comb back 30 at the corresponding positions of the second comb tooth 12.

[0071] The tips of the first comb teeth 11 and the second comb teeth 12 in the comb teeth 10 of the playing comb 100 are arranged in a dotted wavy line shape. The shape of the tooth roots is arranged according to the length of the second comb teeth 12 and the requirements of pitch and scale. The roots of the first comb teeth 11 and the second comb teeth 12 in the middle position protrude on both sides and are arranged in a scale shape with gradual reduction.

[0072] The length and thickness of the second comb teeth 12 of the playing comb 100 are matched and combined according to the same thickness of the second comb teeth 12 but different lengths to meet the requirements of pitch and scale.

[0073] The tip of the second comb tooth 12 is a blunt semi-circle. It is made of purple sandalwood with high density, uniform texture, good acoustic performance and good vibration characteristics. The root of the second comb tooth 12 is connected to the sound bridge 20.

[0074] The second comb teeth 12 of the playing comb 100 are coated with seven colors of red, orange, yellow, green, cyan, blue and purple along a length from the tip to the root, corresponding to the seven alto and solfège notes 1 (Do), 2 (Re), 3 (Mi), 4 (Fa), 5 (Sol), 6 (La) and 7 (Si) of the scale. The solfège notes need to have one or two dots painted on the comb tooth surface above the color of the solfège note corresponding to the second comb tooth.

[0075] The second comb tooth 12, the sound bridge 20, and the comb back 30 are connected in such a way that the second comb tooth 12, the sound bridge 20, and the comb back 30 are three parts connected sequentially on the same piece of material.

[0076] The diffractor 31 on the comb back 30 is made of brass pillars with uniform texture and smooth surface, and its end face is flush with the surface of the comb back.

[0077] The key processes and methods for manufacturing the performance comb first involve designing and demonstrating the basic functions, instrumental functions, comb shape and playability of the performance comb 100, the material, acoustic performance, length, thickness, and arrangement of the first and second comb teeth 11 and 12, as well as the connection method between the first and second comb teeth 11 and 12 and the comb back 30. It was determined that a single piece of purple sandalwood would be used to make the performance comb 100, with a crescent shape (with the sharp ends removed) that maintains the basic functions of a comb. This shape provides a good grip and playing feel, and the grip does not affect the sound production. Secondly, the focus is on the purple sandalwood material of the second comb teeth. The physical testing and verification of the material, acoustic performance, and performance characteristics of the playing comb 100, including its portability, grip, and performance, mainly includes: testing and verifying whether the material used for the second comb tooth 12 has high density, high uniformity, good elasticity, moderate hardness, and machinability; testing whether it can produce an "ethereal" and pleasant musical tone in terms of acoustic performance; and verifying whether the instrument is easy to carry, hold, and play with fingers and nails. Finally, the design scheme, processing method, and quality control process are solidified after optimizing the design scheme, improving the processing method, and quality control procedures.

[0078] The second comb tooth 12, bridge 20, and comb back 30 of the described performance comb 100 are processed and assembled as a single piece of material. The equipment and processes used are determined according to the characteristics of its processing and assembly method. For mass production, fully automated intelligent manufacturing is preferred to facilitate quality control management with efficiency and consistent quality. Small-batch or exclusive performance comb 100 products are suitable for handmade production. The handmade production process is the creative path of the performance comb 100, which incorporates the craftsman's skills, emotions, and spontaneity, and also creates the unique characteristics of the work.

[0079] Whether mass-produced or handmade in small quantities, the performance comb 100 requires strict control over its most basic combing and hair care functions, as well as the material properties that affect sound production, such as density, drying degree, and other sound performance. Quality control combines spot checks and random checks to ensure the quality and performance of the performance comb.

[0080] Example 2

[0081] like Figure 4 , Figure 5 , Figure 6 As shown, the playing comb 100 includes comb teeth 10, a bridge 20, a comb back 30, comb wings 40, and note name and solfège note stickers 50. All comb teeth 10 of the playing comb 100 are second comb teeth 12, and the second comb teeth 12 are coated with the colors 15 corresponding to the note names and solfège notes of the scale. The bridge 20 is connected to the second comb teeth 12 on one side and to the resonance hole 32 on the comb back 30 on the other side. The comb wings 40 are located on both sides of the comb teeth 10 and connected to the comb back 30. The note names and solfège notes 50 are laser-engraved on the comb back 30 at the corresponding positions of the second comb teeth 12.

[0082] The tips of the second comb teeth 12 in the comb teeth 10 of the playing comb 100 are arranged in a dotted arc along the outer circle of the playing comb 100. The shape of the tooth roots is arranged according to the length of the second comb teeth 12 and the requirements of pitch and scale. The root of the second comb teeth 12 in the middle position protrudes and the second comb teeth on both sides are arranged in a scale-like gradually decreasing pattern.

[0083] The length and thickness of the second comb teeth 12 of the playing comb 100 are matched and combined according to the same thickness of the second comb teeth 12 but different lengths to meet the requirements of pitch and scale.

[0084] The tip of the second comb tooth 12 is a blunt semi-circle, and the material is ebony, which has high hardness and good acoustic vibration performance. The root of the second comb tooth 12 is connected to the sound bridge 20.

[0085] The second comb teeth 12 of the playing comb 100 are coated with seven colors of red, orange, yellow, green, cyan, blue and purple along a length from the tip to the root, corresponding to the seven alto and solfège notes 1 (Do), 2 (Re), 3 (Mi), 4 (Fa), 5 (Sol), 6 (La) and 7 (Si) of the scale. The solfège notes need to have one or two dots painted on the comb tooth surface above the color of the solfège note corresponding to the second comb tooth.

[0086] The second comb tooth 12, the sound bridge 20, and the comb back 30 are connected in such a way that the second comb tooth 12, the sound bridge 20, and the comb back 30 are three parts connected sequentially on the same piece of material.

[0087] The resonance hole 32 on the comb back 30 is a through hole with a smooth inner wall and a regular chamfered outer edge. It is circular in shape and arranged in accordance with the shape of the second comb tooth 12 at the root.

[0088] The key processes and methods for manufacturing the performance comb first involve designing and demonstrating the basic functions, instrumental functions, comb shape and playability of the performance comb 100, the material, acoustic performance, length, thickness, and arrangement of the second comb teeth 12, as well as the connection between the second comb teeth 12 and the comb back 30. It was determined that a single piece of ebony would be used to make the performance comb 100, adopting a traditional round shape while maintaining the basic functions of a comb; this shape is aesthetically pleasing, offers good grip, and provides a good playing feel. Secondly, the focus is on the ebony material, acoustic performance, and performance characteristics of the second comb teeth 12. The process of testing and verifying the performance of the instrument in terms of portability, grip, and performance mainly includes: testing and verifying whether the material used for the second comb tooth 12 has high density, high uniformity, good elasticity, moderate hardness, and machinability; testing whether it can produce a "ethereal" and pleasant musical tone in terms of acoustic performance; and verifying whether the instrument is easy to carry and hold, and whether it is easy to play with fingers and nails. Finally, the design scheme, processing method, and quality control process are solidified after optimizing the design scheme, improving the processing method, and quality control procedures.

[0089] The second comb tooth 12, bridge 20, and comb back 30 of the playing comb 100 are processed and assembled as a single piece of material. The equipment and processes used are determined according to the characteristics of its processing and assembly method. For mass production, fully automated intelligent manufacturing is preferred to facilitate quality control management with efficiency and consistent quality. Small-batch or exclusive playing comb 100 products are suitable for handmade production. The handmade production process is the creative path of the playing comb 100, which incorporates the craftsman's skills, emotions, and spontaneity, and also creates the unique characteristics of the work.

[0090] Whether mass-produced or handmade in small quantities, the performance comb 100 requires strict control over its most basic combing and hair care functions, as well as the material properties of the performance comb 100, such as the density, drying degree, and other sound performance that affect the sound. Quality control combines spot checks and random checks to ensure the quality and performance of the performance comb 100.

[0091] Example 3

[0092] like Figure 7 , Figure 8 , Figure 9 As shown, the playing comb 100 includes comb teeth 10, a bridge 20, a comb back 30, comb wings 40, and solfège note stickers 50. The comb teeth 10 are divided into two types, namely a first comb tooth 11 and a second comb tooth 12. The second comb tooth 12 is coated with the color 15 of the corresponding solfège note. The bridge 20 is connected to the second comb tooth 12 on one side and to the resonance hole 31 on the comb back 30 on the other side. The comb wings 40 are located on both sides of the comb teeth 10 and connected to the comb back 30. The solfège note 50 is laser-engraved on the comb back 30 at the corresponding positions of the second comb tooth 12.

[0093] The tips of the first comb tooth 11 and the second comb tooth 12 in the comb teeth 10 of the playing comb 100 are arranged in a dotted straight line along the bottom edge of the playing comb 100. The dotted straight line arrangement of the tooth roots and the tooth tips is parallel, that is, the lengths of the first comb tooth 11 and the second comb tooth 12 are the same, and the comb teeth 10 are arranged squarely.

[0094] According to the principle of determining pitch based on the length and thickness of the second comb tooth 12, in this embodiment, the length and thickness of the second comb tooth 12 of the playing comb 100 are matched and combined in that the length of the second comb tooth 12 is the same but the thickness is different. The thickness of the second comb tooth 12 gradually changes from thin to thick from the middle of the comb body to the comb wings 40 on both sides, according to the pitch and scale of the second comb tooth 12.

[0095] The tip of the second comb tooth 12 is rounded and elliptical, protruding from the edge of the comb tooth. It is made of brass with moderate hardness and good acoustic vibration performance. The root of the first comb tooth 11 is connected to the comb back 30, and the root of the second comb tooth 12 is connected to the sound bridge 20.

[0096] The second comb teeth 12 of the playing comb 100 are coated with seven colors of red, orange, yellow, green, cyan, blue and purple along a length from the tip to the root, corresponding to the seven alto and solfège notes 1 (Do), 2 (Re), 3 (Mi), 4 (Fa), 5 (Sol), 6 (La) and 7 (Si) of the scale. The solfège notes need to have one or two dots painted on the comb tooth surface above the color of the solfège note corresponding to the second comb tooth.

[0097] The second comb tooth 12, the sound bridge 20, and the comb back 30 are connected in such a way that the second comb tooth 12, the sound bridge 20, and the comb back 30 are connected sequentially on the same piece of material.

[0098] The resonance holes 32 on the comb back 30 are through holes with smooth inner walls and regular chamfered outer edges. The resonance holes 32 are rectangular and gradually decrease in size from the middle of the comb body to both sides.

[0099] The key processes and methods for manufacturing the performance comb first involve designing and demonstrating the basic functions, instrumental functions, comb shape and playability of the performance comb 100, the material, acoustic performance, length, thickness, and arrangement of the first comb teeth 11 and the second comb teeth 12, as well as the connection form between the second comb teeth 12 and the comb back 30. It was determined that a single piece of brass would be used to make the performance comb 100, adopting a relatively square rectangular traditional shape while maintaining the basic functions of a comb; this shape is aesthetically pleasing and provides a good grip and playing feel. Secondly, the chemical composition and heat treatment of the brass material for the second comb teeth 12 are emphasized. The process of testing and verifying the performance of the comb 100, including its carrying, holding, and playing characteristics, mainly includes: testing and verifying whether the material used for the second comb tooth 12 has high density, high uniformity, good elasticity, moderate hardness, and machinability; testing whether it can produce a "clear" and pleasant musical tone in terms of acoustic performance; and verifying whether the comb is easy to carry, hold, and play with fingers and nails. Finally, the design scheme, processing method, and quality control process are solidified after optimizing the design scheme, improving the processing method, and quality control procedures.

[0100] The second comb tooth 12, bridge 20, and comb back 30 of the performance comb are processed and assembled as a single piece of material. The equipment and processes used are determined according to the characteristics of its processing and assembly method. For mass production, fully automated intelligent manufacturing is preferred to facilitate quality control management with efficiency and consistent quality. Small-batch or exclusive performance comb 100 products are suitable for handmade production. The handmade production process is the creative path of the performance comb 100 works, which contains the skills, emotions and spontaneity of the craftsman, and also creates the unique characteristics of the works.

[0101] Whether mass-produced or handcrafted in small quantities, the performance comb 100 requires strict control over its most basic combing and hair care functions, as well as the material properties of the performance comb 100, such as density, elasticity, heat treatment hardness, and other sound-producing properties that affect sound production. Quality control combines spot checks and random checks to ensure the quality and performance of the performance comb 100.

[0102] Example 4

[0103] like Figure 10 , Figure 11 , Figure 12 , Figure 13 As shown, the playing comb 100 includes comb teeth 10, comb back 30, comb wings 40, and solfège note stickers 50. All of the comb teeth 10 are second comb teeth 12. The second comb teeth 12 are coated with the colors 15 corresponding to the solfège notes of the scale and are provided with tuning holes 13 and guide plates 14. The second comb teeth 12 have different lengths but the same thickness. The second comb tooth 12 is connected to the comb back 30; the comb wings 40 are located on both sides of the second comb tooth 12 and connected to the comb back 30. The solfège note stickers 50 are pasted on the comb back 30 at the corresponding positions of the second comb tooth 12.

[0104] The tips of the second comb teeth 12 of the playing comb 100 are arranged in a dotted arc shape, and the shape of the tooth roots is arranged according to the length of the second comb teeth 12, the position of the tuning hole 13, the length of the guide section 14, and the pitch and scale requirements.

[0105] The principle of determining pitch based on the length and thickness of the second comb tooth 12 is described above. In this example, the comb tooth length and thickness are matched by different combinations of the same thickness and different lengths of the second comb tooth 12 to meet the requirements of pitch and scale.

[0106] The blunt tip of the second comb tooth 12 is semi-elliptical. The inner wall of the tuning hole 13 on the second comb tooth 12 is smooth. The shape is an inverted triangle that is wider at the top and narrower at the bottom. Its size and position are determined according to the pitch requirements of the scale. The material is carbon steel with moderate hardness, good elasticity and acoustic properties. The tuning hole 13 and the root of the second comb tooth 12 are the second comb tooth guide section 14, which is thicker than the front section of the second comb tooth 12. The root of the second comb tooth 12 is connected to the comb back 30.

[0107] The second comb teeth 12 of the playing comb 100 are coated with seven colors of red, orange, yellow, green, cyan, blue, and purple, corresponding to the seven alto solfège notes 1 (Do), 2 (Re), 3 (Mi), 4 (Fa), 5 (Sol), 6 (La), and 7 (Si) of the scale, along a length from the tip to the root of each second comb tooth 12. For the solfège notes, one or two dots are added to the comb tooth surface above the color of the corresponding solfège note, and for the bass solfège notes, one dot is added to the comb tooth surface below the color of the corresponding solfège note.

[0108] The second comb tooth 12 of the playing comb is connected to the comb back 30 in a two-part connection manner. The second comb tooth 12 is connected to the comb back 30 by interference fitting and is embedded in the comb back 30 to ensure reliable contact of the connection surface. The second comb tooth 12 is made of carbon steel and the comb back 30 is made of stainless steel.

[0109] The key processes and methods for manufacturing the performance comb first involve designing and demonstrating the basic functions, instrumental functions, comb shape and playability of the performance comb 100, the material, acoustic performance, length, thickness, and arrangement of the second comb teeth 12, as well as the connection method between the second comb teeth 12 and the comb back 30. It was determined that the second comb teeth 12 are made of carbon fiber, and the comb back 30 is made of food-grade stainless steel. The performance comb 100 adopts a traditional crescent shape while maintaining the basic functions of a comb; this shape provides good grip and playing feel. Secondly, the chemical composition of the carbon steel material of the second comb teeth 12 is emphasized. The process includes physical testing and verification of the heat treatment method, acoustic performance, and the carrying, holding, and playing performance of the comb 100. This process mainly includes: testing and verifying whether the material used for the second comb tooth 12 has high density, high uniformity, good elasticity, moderate hardness, and machinability; testing whether it can produce a "ethereal" and pleasant musical tone in terms of acoustic performance; and verifying whether the instrument is easy to carry, hold, and play with fingers and nails. Finally, the design scheme, processing method, and quality control process are solidified after optimizing the design scheme, improving the processing method, and quality control procedures.

[0110] The second comb tooth 12 and comb back 30 of the performance comb 100 are processed and assembled from two separate materials. The equipment and processes used are determined according to the characteristics of the processing and assembly method. For mass production, fully automated intelligent manufacturing is preferred to facilitate quality control management with efficiency and consistent quality. Small-batch or exclusive performance comb 100 products are suitable for handmade production. The handmade process is the creative path of the performance comb 100, which incorporates the craftsman's skills, emotions and spontaneity, and also creates the unique characteristics of the work.

[0111] Whether mass-produced or handcrafted in small quantities, the performance comb 100 requires strict control over its most basic combing and hair care functions, as well as the material properties of the second comb teeth 12, such as density, elasticity, heat treatment hardness, and other sound-producing properties that affect sound production. Quality control combines spot checks and random checks to ensure the quality and performance of the performance comb 100.

[0112] The above are preferred embodiments of this patent and are not intended to limit the invention. Any modifications, equivalent substitutions, improvements, etc., made within the spirit and principles of this invention should be included within the protection scope of this invention.

Claims

1. A playing comb, comprising comb teeth, a bridge, a comb back, comb wings, note names, and solfège note stickers, characterized in that: The comb teeth are divided into first comb teeth and second comb teeth. The first comb teeth only have the corresponding functions of combing hair, while the second comb teeth have the functions of the first comb teeth as well as the function of playing and producing sound. The comb teeth of the playing comb are the first comb teeth plus the second comb teeth, or all of the comb teeth are the second comb teeth. The second comb teeth are painted with the colors of the corresponding scale note names and solfège notes and are equipped with tuning holes and guide segments, and the length and thickness are matched according to the pitch and scale requirements. One side of the sound bridge is connected to the second comb tooth, and the other side is connected to the diffractor or resonance hole on the back of the comb. The comb wings are located on both sides of the comb teeth and connected to the comb back; the note names and solfège notes are pasted on the comb back at the corresponding position of the second comb tooth or the required note names and solfège notes are carved on the comb back at the corresponding position of the second comb tooth.

2. The playing comb as described in claim 1, characterized in that: The arrangement of the comb teeth is designed to meet the requirements of combing hair, comb body shape, and playing sound. Specifically, the tips of the comb teeth are arranged in a linear pattern such as dotted straight lines, dotted arcs, or dotted wavy lines, while the shape of the comb teeth roots is arranged according to the length of the comb teeth and the requirements of pitch and scale.

3. The playing comb as described in claims 1 and 2, characterized in that: The playing comb is designed to determine pitch based on the length and thickness of the pick on a plucked instrument. There are three combinations of matching comb teeth length and thickness: the first is a combination where the second comb teeth have the same thickness but different lengths; the second is a combination where the second comb teeth have the same length but different thicknesses; and the third is a combination that takes into account both the thickness and length of the second comb teeth. A matching combination can be selected to meet the requirements of comb shape, pitch, and scale.

4. The playing comb as described in claims 1, 2, and 3, characterized in that: The blunt tip of the second comb tooth is semi-circular or elliptical. The inner wall of the tuning hole on the second comb tooth is smooth. Its shape, size and position are determined according to the pitch requirements of the scale and the material properties of the second comb tooth. The area between the tuning hole and the root of the second comb tooth is the tone guide section of the second comb tooth. The root of the second comb tooth is connected to the tone bridge or the back of the comb.

5. The playing comb as described in claims 1, 2, 3, and 4, characterized in that: The second comb teeth of the playing comb are coated with seven colors—red, orange, yellow, green, cyan, blue, and purple—corresponding to the seven alto solfège notes 1 (Do), 2 (Re), 3 (Mi), 4 (Fa), 5 (Sol), 7 (Si) along a length from the tip to the root of each second comb tooth. For solfège notes, one or two dots are added to the comb tooth surface above the color of the corresponding solfège note. For bass solfège notes, one dot is added to the comb tooth surface below the color of the corresponding solfège note.

6. The playing comb as described in claims 1 and 4, characterized in that: There are four ways to connect the second comb teeth, the sound bridge, and the comb back: the first is that the second comb teeth, the sound bridge, and the comb back are three parts connected in sequence on the same piece of material; the second is that the second comb teeth and the sound bridge are two parts connected to the comb back on the same piece of material; the third is that the second comb teeth are connected to the comb back; the fourth is that the second comb teeth, the sound bridge, and the comb back are three independent pieces of material connected in sequence; the materials of the second comb teeth, the sound bridge, and the comb back may be the same or different.

7. The playing comb as described in claim 1, characterized in that: The resonance hole on the comb back is a through hole or a blind hole with a smooth inner wall and a regular chamfered outer edge. The depth, shape and size of the hole are determined according to the sound effect requirements. The diffractor has a uniform texture and a smooth surface and is placed in the same position as the resonance hole or only one of the two is used. When placed in combination, the end face of the diffractor is flush with or concave to the surface of the comb back.

8. A method for manufacturing the playing comb as described in claim 1, characterized in that: The key processes and methods for manufacturing the performance comb are as follows: First, the basic functions of the comb, its instrumental function, its shape and playability, the materials, acoustic properties, length, thickness, and arrangement of the first and second comb teeth, as well as the connection between the first and second comb teeth and the bridge or back of the comb are designed and demonstrated. Second, the material, acoustic properties, and performance of the performance comb, including its carrying, holding, and playing characteristics, are tested and verified. This process mainly includes: testing and verifying whether the material used for the second comb teeth has high density, high uniformity, good elasticity, moderate hardness, and machinability; testing whether it can produce a "clear" and pleasant musical tone in terms of acoustic performance; and verifying whether the shape is easy to carry, hold, and play, and whether it is easy to play with fingers and nails. Finally, the design scheme, processing method, and quality control process are solidified after optimizing the design scheme, improving the processing method, and quality control procedures.

9. The playing comb as described in claim 8, characterized in that: There are four ways to process and assemble the second comb teeth, the sound bridge, and the comb back of the comb. The first method is to process and assemble them from a single piece of material. The second method is to process and assemble the second comb teeth and the sound bridge as one piece, and then process and assemble them separately from the comb back. The third method is to process and assemble the second comb teeth and the comb back separately. The fourth method is to process and assemble the second comb teeth, the sound bridge, and the comb back independently. When connecting the parts separately, the second comb teeth are connected to the sound bridge or the comb back by interference fitting to ensure reliable contact of the connection surface. Based on the characteristics of the above processing and assembly methods, the equipment and processes used are determined. Fully automated intelligent manufacturing is preferred to facilitate quality control management with efficiency and consistent quality. Handmade manufacturing has its uniqueness and is suitable for small-batch or exclusive comb products. The production process is the creative path of the comb work, which incorporates the craftsman's skills, emotions, and spontaneity, and also creates the unique characteristics of the work.

10. The playing comb as described in claims 8 and 9, characterized in that: Furthermore, the production of the performance comb, whether in mass production or small-scale handmade production, requires strict control over its most basic combing and hair care functions, as well as the material properties and playing and sound-producing performance of the performance comb. Quality control combines spot checks and random checks to ensure the quality and performance of the performance comb products.

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