An example of a sound box with adjustable tone is a Chinese two-stringed fiddle sound box with adjustable tone

Abstract

The present application relates to a kind of adjustable sound box of erhu example of raw material sound box adjustable sound box of erhu production.The difference between the present application and the existing erhu tube is that the whole tube is made of raw material.The tube is larger than the traditional erhu tube, has a number of sound holes with different diameters, and each group of sound holes is followed by a group of sound covers.The sound covers are connected to the shaft of the tube, and are randomly opened and covered on the sound holes by spring buckle or adhesive tape.The sound holes change the tone due to the change of sound volume.The lower surface of the tube is connected to the arc-shaped bridge, and the wood bar fixed on the tube and the groove fixed on the arc-shaped bridge are buckled together by screwing.The middle of the skin surface is engraved with a hole, and the existing erhu python skin surface is pasted on it to realize the innovative application of a skin surface with two materials.The erhu raw material tube produces a variety of tones, such as deep and clear, clear and pleasant, and melodious, which adds new joy to the players and appreciators.The sound box with sound holes and sound covers adds a variety of tones to the multi-material sound box instruments.

Description

Technical Field

[0001] This invention relates to an example of an adjustable-timbre speaker enclosure for the erhu (a two-stringed bowed instrument), specifically distinguishing it from the existing erhu's limited material and timbre. Background Technology

[0002] Currently, the speakers commonly known to be made of materials such as wood and bamboo still have shortcomings, especially in terms of the variety of timbre. Apart from electroacoustic adjustment, the timbre is also limited and cannot be changed according to the needs of the music. Summary of the Invention

[0003] To address the shortcomings of existing technologies, this invention provides a speaker box made of plastic. By extension, this invention can be applied to existing erhu speaker boxes (i.e., instrument resonators, hereinafter referred to as resonators) and can also produce a variety of timbres.

[0004] One of the technical solutions adopted by this invention to solve its technical problem is: The erhu soundbox is made of plastic, and it is integrally molded (or assembled from several parts). The soundbox resembles a round plastic bucket lying horizontally. The vertical bottom of the plastic bucket is the skin surface of the erhu soundbox (i.e., the python skin surface of existing erhus). The highest point of its upper surface is the longitudinal center line of the symmetrical soundbox, which is perpendicular to the skin surface of the soundbox. The neck sits on the longitudinal center line starting from the skin surface of the soundbox. A center point is set a short distance inward, and vertical lines are drawn from this point in both longitudinal and transverse directions. Turn down one hole, and the hole continues downward through the center of the soundbox to the inner lower edge of the soundbox's thick surface arc. Using the center of this hole as the center in both the longitudinal and transverse directions, expand it symmetrically in four directions (front, back, left, and right) to form a square. Then carve this square into a square hole. This square hole penetrates the wall thickness of the soundbox and symmetrically distributes the wooden arched support, which is attached to its outer arc surface, creating a clear square hole that can pass through the hole on the upper surface of the soundbox. The front end of the arched support is flush with the soundboard surface of the soundbox, and the rear end has the same diameter as the soundbox. For flush alignment: On the inward side of the curved base, against the surface of the soundbox, a symmetrical groove of appropriate depth and width is carved out to both sides, divided by the longitudinal center line. On the lower surface of the soundbox diameter, inward side, a symmetrical strip of wood is pasted out to both sides, divided by the longitudinal center line. When the groove of the curved base is placed on the protruding strip of wood at this position on the back of the soundbox diameter, the depth of the groove should be equal to the height of the wood strip, and their corresponding fit should be perfect. Then, screw a wood screw into the groove of the curved base and through it into the strip of wood. Secure the square end of the erhu neck: After inserting the square end into the round hole on the upper surface of the soundbox, adjust the longitudinal center of the tuning pegs on the neck to align with the longitudinal center of the soundbox. Then, insert the square end of the neck into the square hole on the lower inner surface of the soundbox, allowing it to pass through the square hole of the curved support with appropriate tightness, ensuring it is flush with the outer surface of the curved support. Hang two strings on the symmetrical string slots on the bottom front surface of the curved support, divided inwards by the longitudinal center line. Insert the bow, and tie the other end of the strings to the two tuning pegs on the neck. Install the bridge, nut, etc., and adjust the strings. This completes the assembly of the erhu soundbox using a plastic bucket. Next, at appropriate positions on the upper inner surface of the same diameter rear end of the erhu's soundbox, two sets of sound holes of different diameters are drilled and installed. A muffler is fitted behind each set of sound holes to cover them at any time, achieving the purpose of muffler operation. Sound holes are also provided on the variable-diameter slope surface at the rear end of the soundbox where the neck diameter changes. The opening at the end of the circular neck is the erhu's sound window, which also serves as a sound hole; when covered by the neck cover, it also functions as a muffler, achieving the same purpose of muffler operation. The varying sizes of the sound holes on the soundbox, due to their different sizes and the different muffler covers, produce varying volumes of sound, thus affecting the tone emitted by the erhu's soundbox.This is one of the solutions for changing the tone of the erhu made of plastic. The second technical solution addresses this technical problem. The second technical solution is based on the manufacturing structure and shape of the first solution, with some modifications. Specifically, on the skin surface of the plastic body in the first solution, a concentric circle is drawn with the center of the plastic skin surface as the center. The concentric circle is cut out to create a large hole. Adhesive is applied to the outer surface of the large hole with an appropriate width. Python skin, meeting the adhesion requirements, is then pasted onto the outer surface of the concentric circle, forming the center of the plastic skin surface. Using python skin as the skin surface again will produce a new sound effect for the erhu. The subsequent installation processes, such as hanging the strings, installing the bridge, and tuning, are exactly the same as in the first technical solution; please understand that the author will not repeat them here.

[0005] This patented erhu's plastic soundbox is significantly larger than that of a regular erhu, featuring four different sound holes arranged as follows: the largest sound hole is the neck opening; the second and third largest sound holes are two sets arranged sequentially on the upper surface of the rear end of the soundbox; and the smallest sound hole is located on the sloping surface between the diameter of the soundbox and the diameter of the neck. Except for the smallest fourth sound hole, all other sound holes are equipped with mufflers. Furthermore, the maker can freely add or adjust the size of the sound holes. Important Note: 1. Because plastic erhu soundboxes are not very hard, the thickness of the soundboard, especially the skin, must be reinforced to ensure sufficient strength to prevent deformation or twisting under certain external pressure. In particular, point 2, the second technical solution, aims to ensure that the compressive, torsional, and tensile strength of the plastic soundbox should not be weakened compared to the strength of the plastic soundbox after a large concentric hole is made in the center of the plastic soundbox. To prevent deformation or twisting under external pressure, it is necessary to increase the wall thickness of the soundbox. Alternatively, the concentric hole in the center of the plastic soundbox can be cut smaller to ensure that the strength of the python skin soundbox remains unchanged. Tip 3: The plastic soundbox material of this patent should be made of materials that are rigid, resistant to compression, torsion, and tension, fire-retardant, produce a clear sound, are durable, and environmentally friendly. Tip 3: The soundbox of this patented erhu can also be made of various materials such as wood, bamboo, chemicals, ceramics, metals, and various composite materials. Furthermore, it can be used to enhance the tone of various instruments with soundboxes, soundboxes, strings, and percussion instruments by arranging sound holes and mufflers.

[0006] The beneficial effects of this invention are as follows: The plastic erhu resonator is larger than that of an ordinary erhu resonator. It uses multiple holes for volume control and different styles of sound-dampening covers to control the volume, allowing the erhu's timbre to change and combine multiple times. It can produce a variety of timbres, from rich and full, deep and loud to gorgeous, soft and clear. In particular, the addition of a python skin resonator in the center of the plastic resonator adds another characteristic to the sound. The plastic resonator greatly enriches the diversity and novelty of the erhu's timbre, adding new joy to performers and listeners.

[0007] The present invention will be further described below with reference to the accompanying drawings;

[0008] Figure 1 It is a 3D diagram of a 22-string erhu with a variable tone.

[0009] Figure 2 This is a frontal view (skin surface) of the instrument's soundbox.

[0010] Figure 3 This is a detailed diagram showing the installation of the neck on the upper surface of the instrument's body.

[0011] Figure 4 yes Figure 3 AA cross-section diagram.

[0012] Figure 5 yes Figure 3 BB cross-section diagram.

[0013] Figure 6 This is a plan view of a circular silicone sleeve, one of the solutions for isolating the wall of the soundbox and the neck of a violin.

[0014] Figure 7 yes Figure 6 CC cross-section diagram.

[0015] Figure 8 yes Figure 6 dd cross-sectional view.

[0016] Figure 9 yes Figure 6 A circular silicone sleeve is placed on the wall thickness of the soundbox hole, simulating the cross-section of the neck after it is inserted into the middle hole.

[0017] Figure 10 This is a plan view of a square silicone sleeve.

[0018] Figure 11 yes Figure 10 EE cross-section diagram.

[0019] Figure 12 yes Figure 10 ff cross-section diagram.

[0020] Figure 13 yes Figure 10A square silicone sleeve is placed over the wall thickness of the soundbox hole, simulating a cross-section after the neck is inserted into the middle hole.

[0021] Figure 14 This is a simulated longitudinal cross-sectional view of a tubular silicone sleeve, which is one of the second solutions for isolating the wall of the soundbox and the neck from friction.

[0022] Figure 15 This is a simulated transverse cross-section of a tubular silicone sleeve, which is one of the second solutions for isolating the wall of the soundbox and the neck from friction.

[0023] Figure 16 This is a simulated longitudinal cross-sectional view of the soft colloid controlled by the third scheme to isolate the friction between the wall of the soundbox and the neck.

[0024] Figure 17 This is a plan view of the lower surface of the instrument's body.

[0025] Figure 18 yes Figure 17 GG cross-section diagram.

[0026] Figure 19 yes Figure 17 HH cross-sectional view.

[0027] Figure 20 yes Figure 17 ll cross-section diagram.

[0028] Figure 21 yes Figure 17 Cross-sectional view of JJ.

[0029] Figure 22 yes Figure 17 The cross-sectional view of kk.

[0030] Figure 23 yes Figure 17 The Ll cross-section diagram.

[0031] Figure 24 yes Figure 17 MM cross-section diagram.

[0032] Figure 25 yes Figure 17 NN cross-sectional view.

[0033] Figure 26 This is a side elevation view of the instrument's body.

[0034] Figure 27 This is a top view of the instrument's body.

[0035] Figure 28 yes Figure 27 Plan view of the sound holes.

[0036] Figure 29 yes Figure 28OO cross-section diagram.

[0037] Figure 30 yes Figure 28 PP cross-section diagram.

[0038] Figure 31 yes Figure 28 A cross-sectional view of QQ.

[0039] Figure 32 yes Figure 28 RR cross-section diagram.

[0040] Figure 33 yes Figure 28 SS cross-section diagram.

[0041] Figure 34 yes Figure 28 TT cross-sectional view.

[0042] Figure 35 yes Figure 27 Plan view of the connecting shaft pier next to the soundproof cover.

[0043] Figure 36 yes Figure 35 UU cross-sectional view.

[0044] Figure 37 yes Figure 35 VV cross-sectional view.

[0045] Figure 38 yes Figure 35 WW cross-section diagram.

[0046] Figure 39 yes Figure 35 XX cross-section diagram.

[0047] Figure 40 yes Figure 35 YY cross-sectional diagram.

[0048] Figure 41 yes Figure 35 ZZ cross-section diagram.

[0049] Figure 42 Is and Figure 35 Plan view of the silencer cover connected to the upper connecting shaft pier.

[0050] Figure 43 yes Figure 42 A'-A' section view.

[0051] Figure 44 yes Figure 42 The B'-B' section diagram.

[0052] Figure 45 yes Figure 42The C'-C' cross-section diagram.

[0053] Figure 46 yes Figure 42 The D'-D' cross-section diagram.

[0054] Figure 47 yes Figure 42 The E'-E' cross-section diagram.

[0055] Figure 48 yes Figure 42 The F'-F' cross-section diagram.

[0056] Figure 49 yes Figure 42 The G'-G' cross-section diagram.

[0057] Figure 50 This is a plan view of the sound-absorbing groove on the sound-absorbing cover.

[0058] Figure 51 yes Figure 50 H'-H' cross-sectional view.

[0059] Figure 52 yes Figure 50 I'-I' cross-sectional view.

[0060] Figure 53 This is a plan view of the first scheme where the muffler cover is attached to the connecting shaft block and then fastened onto the exhaust hole.

[0061] Figure 54 yes Figure 53 The J'-J' cross-section diagram.

[0062] Figure 55 yes Figure 53 K'-K' cross-section diagram.

[0063] Figure 56 yes Figure 53 The L'-L' cross-sectional view.

[0064] Figure 57 It is a front elevation view of the muffler cover standing vertically after it is connected to the connecting shaft pier.

[0065] Figure 58 yes Figure 57 M'-M' cross-section diagram.

[0066] Figure 59 This is a plan view of the second scheme where the silencer cover is attached to the connecting shaft block and then fastened onto the exhaust hole.

[0067] Figure 60 yes Figure 59 N'-N' cross-sectional view.

[0068] Figure 61 yes Figure 59 O`-O` cross-sectional view.

[0069] Figure 62 yes Figure 59 P'-P' cross-sectional view.

[0070] Figure 63 yes Figure 59 The Q'-Q' cross-sectional view.

[0071] Figure 64 This is a simulated cross-sectional view of the silencing cover after it has opened over the silencing hole.

[0072] Figure 65 yes Figure 64 R'-R' cross-sectional view.

[0073] Figure 66 This is a plan view of the handle beam on the muffler cover.

[0074] Figure 67 yes Figure 66 S'-S' cross-sectional view.

[0075] Figure 68 This is a side view showing the transition between the rear end of the violin body and the neck.

[0076] Figure 69 It is a plan view showing the transition between the rear end of the soundbox and the neck.

[0077] Figure 70 yes Figure 69 S'-S' cross-sectional view.

[0078] Figure 71 yes Figure 69 T-T section diagram.

[0079] Figure 72 This is a plan view of the neck cover.

[0080] Figure 73 yes Figure 72 U`-U` cross-sectional view.

[0081] Figure 74 yes Figure 72 V'-V' cross-sectional view.

[0082] Figure 75 This is an enlarged view of the inner surface of the neck cover when it is fastened to the neck opening.

[0083] Figure 76 It is a cross-sectional view of 75 W'-W'.

[0084] Figure 77 yes Figure 75 X'-X' cross-sectional view.

[0085] Figure 78 yes Figure 75 Y'-Y' cross-sectional view.

[0086] Figure 79 yes Figure 75 of Figure 75 Z'-Z' cross-sectional view.

[0087] Figure 80 yes Figure 79 A''-A'' cross-section diagram.

[0088] Figure 81 It is a frontal view of the violin neck with the neck cover open and standing vertically on the neck.

[0089] Figure 82 yes Figure 81 Section B''-B'' of the diagram.

[0090] Figure 83 This is a simplified three-dimensional side view of the python skin pasted onto the soundbox and skin of the violin.

[0091] Figure 84 This is a frontal view of the python skin pasted onto the soundbox and skin of the zither.

[0092] Figure 85 yes Figure 84 The C-C section diagram.

[0093] Figure 86 yes Figure 84 The D-D section diagram.

[0094] In the diagram: 1. Soundbox; 2. Skin (the traditional location for the python skin on an erhu); 3. Rear end of the soundbox; 4. Wall thickness; 5. Hole; 6. Neck; 7. Square end; 8. Strings; 9. Bridge; 10. Bow; 11. Pegs; 12. Round silicone sleeve; 13. Eaves; 14. Square silicone sleeve; 15. Silicone tube; 16. Elastic adhesive; 17. Wooden curved base; 18. Front end of the base; 19. Soundproofing cloth; 20. String slot; 21. Bolt; 22. Square hole; 23. Rear end of the base; 24. Strip groove; 25. Strip of wood; 26. Anti-slip groove of the base; 27. Flat. 28. Platform, 29. Muffler cover, 30. Axle pier, 31. Axle hole, 32. Connecting beam, 33. Flat rectangular hole, 34. Reinforcing beam, 35. Connecting beam, 36. Axle rod, 37. Handle, 38. Receiving groove, 39. Muffler pad, 40. Decorative fabric, 41. C-shaped spring sheet, 42. Positioning beam, 43. Dashed line, 44. Long buckle, 45. Oval plastic button, 46. Adhesive tape, 47. Sloping surface, 48. Neck, 49. Neck opening, 50. Short rectangle, 51. Neck cover, 52. Slide-in buckle, 53. Horizontal control ring, 54. Folding strap, 55. Python skin surface, 56. Glue. Detailed Implementation Plan

[0095] In Example 1 Figure 1 In the middle, the erhu soundbox (1) is made of plastic, either as a single piece or assembled from several parts. It looks like a plastic bucket lying horizontally. Its vertical and flat bottom surface is the skin surface (2) of the erhu soundbox (1) (which is the traditional python skin surface of the erhu). The part with the same diameter as the skin surface (2) is the main body of the erhu soundbox (1). Following that is the neck (47) of the soundbox (1). The neck opening (48) (which is the plastic bucket) The mouth of the soundbox (which is also the sound window of the erhu) is sealed by the neck cover (50); the inner and outer surfaces of the soundbox (1) are smooth. The highest arc point on the upper surface of the soundbox (1) is the longitudinal center line of the soundbox (1) which is symmetrical to the left and right. It is perpendicular to the skin surface (2). In the hole (5) not far inside the longitudinal center line, the neck (6) is vertically extended from the soundbox (1) in both the longitudinal and transverse directions. The two strings (8) emerge from the arc-shaped support (1) under the soundbox (1). After tightening the bolt (21) in the string groove (20) on the 7) and extending symmetrically from the center of the longitudinal center line of the lower surface of the front end (18) of the erhu, it passes through the center of the circular skin surface (2) and hangs on the tuning peg (11) of the neck (6). After installing the bridge (9), bow (10), etc., this is a traditional erhu made of plastic soundbox (1). The characteristic of this erhu is that on the rear end (3) of the plastic soundbox (1) There are two sets of sound holes of different sizes, and matching mufflers (28) are placed on the platform (27); sound holes (5) are also arranged on the slope (46) where the diameter of the rear end (3) of the soundbox and the neck (47) transitions; the neck opening (48) is also a sound hole (5), and the neck cover (50) is placed on the neck opening (48), which is a type of muffler (28); the sound holes (5) with mufflers (28) can be closed or covered at will. In this way, the volume of the soundbox (1) is controlled by the mufflers (28), and the change in the volume of the soundbox (1) causes the erhu's timbre to change. This is the principle behind the erhu's ability to change to multiple timbres in this patent. Please see Figure 2 .

[0096] exist Figure 3In the middle, at a certain point on the longitudinal center line of the upper surface of the violin skin (2), a hole (5) is made vertically downward in both longitudinal and transverse directions. The hole (5) continues vertically downward through the wall thickness (4) of the violin body (1) to the wall thickness (4) of the lower inner side of the violin body (1). With the center point of the hole (5) as the center, a square is symmetrically expanded in all directions parallel to the longitudinal and transverse directions of the surface of the curved violin body (1), and this square is carved into a square hole (22). From the longitudinal AA section in the figure, the left and right sides of the hole (5) on the upper surface of the violin body (1) are arcs downward, and the front and back sides of the square hole (22) on the lower surface are arcs upward. From the transverse BB section of the violin body (1), the hole (5) on the upper surface and the square hole (22) on the lower surface are arcs upward. Both sides are parallel to the longitudinal center line, except that the upper hole (5) can accommodate the lower hole (22) to pass through; on the inner side of the upper surface of the rear end of the body (3), on both sides divided by the longitudinal center line, there is a set of platforms (27), the two sets of sound holes (5) on the platforms (27) are different in diameter, so the two sets of platforms (27) are also different in size, and a set of mufflers (28) is matched behind each set of platforms; there are also sound holes (5) on the slope surface (46) where the diameter of the rear end of the body (3) and the neck (47) transitions: the opening of the neck (47) (48) (that is, the window of the body) is also a sound hole (5), and when the neck cover (50) is fastened on the neck opening (48), the neck cover (50) is a type of muffler (28). Please see Figure 4 , 5 .

[0097] exist Figure 6 In order to prevent the inner edge of the neck (6) from rubbing against the inner edge of the hole (5) and affecting the sound effect, a silicone sleeve is installed to isolate the sound. The silicone sleeve (12) is a very thin and elastic circular tube. The upper and lower ends of the tube hole (5) are circular eaves (13) of equal width that extend outward. The vertical section of the tube hole (5) is equal to the height of the wall thickness (4) of the body of the instrument. The outer diameter of the tube hole (5) is equal to the inner diameter of the hole (5) on the upper surface of the body of the instrument (1). Figure 7 , Figure 8The figures show the different shapes of the transverse and longitudinal sections of the circular silicone sleeve (12) fitted into the hole (5) on the upper surface of the soundbox (1). When the circular silicone sleeve (12) is fitted into the hole (5), its outer diameter should fit snugly against the inner diameter of the hole (5), and its two ends (13) should also fit snugly against the outer wall thickness (4) of the hole (5), so that the circular silicone sleeve (12) cannot move up, down, left, or right in the hole (5). At this time, the neck (6) is fitted into the hole (5) in the middle of the circular silicone sleeve (12), and the neck (6) and the circular silicone sleeve (12) fit together tightly without gaps. The purpose of this is to isolate the neck (6) from direct contact with the soundbox wall (5) to prevent noise, and to ensure that the installation of the neck (6) and the hole (5) is tight enough to prevent the neck (6) from loosening or falling out. Please see Figure 7 , 8 9.

[0098] exist Figure 10 In the middle, the square silicone sleeve (14) and the round silicone sleeve (12) are made of the same material. The hole in the middle is a square hole (22). The four rectangular sides at the top and bottom ends of the square hole (22) extend outwards with equal width to form square eaves (13). The net height of the vertical section of the square hole (22) is equal to the height of the wall thickness (4) of the instrument body. The rectangular side dimension of the outer surface of the square hole (22) is equal to the inner surface dimension of the rectangular side of the square hole (22) on the lower surface of the instrument body (1). Figure 11 , Figure 12 The figures show the different shapes of the transverse and longitudinal sections of the square silicone sleeve (14) fitted into the square hole (22) on the lower surface of the instrument body (1); when the square silicone sleeve (14) is fitted into the middle of the square hole (22), the four rectangular sides of its outer surface should fit snugly against the inner surfaces of the four rectangular sides of the square hole (22), and the four rectangular eaves (13) at both ends should also fit snugly against the upper and lower surfaces of the inner and outer sides of the wall thickness (4) of the hole (5), so that the square silicone sleeve (14) fits snugly against the inner surface of the square hole (22). 4) The instrument should not move up, down, left, or right in the square hole (5); at this time, insert the neck (6) into the square hole (22) in the middle of the circular silicone sleeve (14). The neck (6) and the square silicone sleeve (14) should be fitted together with appropriate tightness and no gaps. The purpose of this is to isolate the neck (6) from direct contact with the wall of the soundbox (5) to prevent noise, and to ensure that the installation of the neck (6) and the square hole (22) is appropriate and that the neck (6) is not loose or leaking. Please see Figures 11, 12, and 13 for details.

[0099] exist Figure 10The fourth method is a second scheme to simulate avoiding direct contact between the neck (6) and the wall thickness (5) of the hole. That is, the silicone tube (15) is inserted into the neck (6) through the square end (7) of the neck (6) (installed at the position where the neck (6) and the hole (5) are in contact). Then, the square end (7) is inserted into the hole (5) on the upper surface of the body (1). After the square end (7) is securely inserted into the square hole (5) on the lower surface of the body (1) and the arc-shaped support (17), the silicone tube (15) should be properly positioned in the hole (5) and ensure a certain tightness to prevent loosening. Otherwise, the silicone tube (15) will fall off, causing the neck (6) and the wall thickness (4) of the body (1) to come into contact and generate noise. Figure 10 Fourthly, a longitudinal cross-sectional view of the soundbox. Figure 10 Fifth is the transverse cross-sectional view of the soundbox. A square silicone tube is installed in the square hole (22) on the lower surface of the soundbox (1). The installation process and purpose are described below. Figure 10 The four points are the same; please understand that I will not repeat them. Please see below. Figure 15 .

[0100] exist Figure 10 The sixth method is the third approach to prevent direct contact between the neck (6) and the inner wall thickness (4) of the hole (5) or square hole (22) on the upper and lower surfaces of the body (1). Specifically, an elastic adhesive is applied around the wall thickness (4) of the hole (5) or square hole (22) on the upper and lower surfaces of the body (1). When the neck (6) contacts the wall thickness (4), the elastic adhesive prevents direct contact between the neck (6) and the wall thickness of the hole (5) or square hole (22) in the body. Among the three methods for preventing direct contact between the neck (6) and the wall thickness (4) of the hole (5) or square hole (22), the common standard is that the contact should be moderately tight, tight, and relatively secure. This avoids noise during erhu playing and also prevents the neck (6) and body from becoming loose.

[0101] exist Figure 10In the seventh section, the arc-shaped base (17) is made of wood. Its width is symmetrically arranged around the longitudinal center line of the soundbox (1). Its length starts from the surface of the soundbox (1) skin (2) and ends at the rear end (3) of the soundbox (1) with the same diameter. The thickness of the arc is equal. After a piece of uniformly thick soundproof cloth (19) is pasted on the inner surface arc, it still has the same arc angle as the outer surface arc of the soundbox (1). On the longitudinal center line of the lower surface of the arc-shaped base (18), there are symmetrically carved string grooves (20) on the inner side. 0) Two bolts (21) are symmetrically fixed to the edge of the string in the middle. Further inward, symmetrical in both the longitudinal and transverse directions, are the square holes (22) for installing the square end (7) of the erhu neck (6). From this longitudinal center line, continue inward to the rear end of the base (23). On the inner surface of the arc-shaped base (3), a strip groove (24) of the same width, depth and length is carved symmetrically. Similarly, at the same position on the rear end of the soundbox (3), a protruding strip of wood is firmly glued. 25), the strip wooden block (25) and the strip groove (24) are in the same position, the same width, and the same height (i.e., the depth of the strip groove is equal to its height); the curved base (17) is aligned with the lower surface of the body (1), and the strip groove (24) at the rear end (23) of the base is fastened to the protruding strip wooden block (25) at the rear end (3) of the body. Since they are made in a corresponding manner, their installation should be a tight and seamless fit. Moreover, the square hole (22) on the lower surface of the body (1) and the curved base (17) are aligned with the groove. The square hole (22) is aligned vertically without deviation. Locate the groove (24) on the curved base (17) on the lower surface of the soundbox (1), and screw in a wood screw. Screw the screw through the groove (24) into the wooden strip (25) and tighten it, ensuring a tight and secure connection between the lower surface of the soundbox (1) and the curved base (17). The longitudinally engraved anti-slip groove (26) on the outer surface of the curved base (17) prevents the curved base (17) from sliding downwards when resting on the legs during erhu use. Please see details. Figures 18 to 25 .

[0102] exist Figure 26In the middle, the square end (7) of the neck (6) is inserted into the hole (5) on the upper surface of the soundbox (1), and passes through the hole (5) on the lower surface of the soundbox (1) and the square hole (22) of the curved base with appropriate tightness, ending flush with the square hole (22) on the outer surface of the curved base (17); the strip groove (24) on the curved base (17) fits snugly into the strip of wood (25) fixed on the soundbox (1); the rear end (3) of the soundbox At an appropriate position on one side of the longitudinal center line, a set of sound holes (5) are arranged on the platform (27), and a set of mufflers (28) is matched on the platform (27) behind it; there are also sound holes (5) on the variable diameter slope surface of the rear end (3) of the body of the instrument, which will become the neck (47). When the neck opening (48) at the end of the neck (47) is open, it is the sound hole (5), and when the neck cover (50) is fastened, it acts as the muffler (28).

[0103] exist Figure 27 In the middle, on the inner side of the rear end (3) of the soundbox behind the hole (5) of the neck (6), on the platform (27) to the left and right of the longitudinal center line, there are two sets of sound holes (5) with different diameters. On the platform (27) behind them, there is also a set of mufflers (28): Figure 28 This is a plan view of the muffler hole (5) and the platform (27). Because the diameter of the muffler hole (5) on the platform is different, the size of the platform is also different. In addition, their placement and the number of muffler holes (5) can be adjusted and changed at will. The two groups in the figure are drawn with the same arc, which is only for the convenience of the author. Tip: There are at least three installation methods to consider when drilling holes on the surface of the soundbox: 1. Drill holes (5) directly on the arc surface of the soundbox (1), and at the same time, make an arc-shaped muffler cover (28). 2. Protrude a flat platform directly on the arc surface of the soundbox () and drill holes () on it (as shown in this figure). 3. You can also make the platform module in advance, glue it firmly in the intended position, and then drill holes (5). No matter which method the maker uses, it must be made in accordance with the requirements of the drawing. See details Figures 28 to 34 .

[0104] exist Figure 35In the middle, there is a raised platform (27) on the arc surface of the soundbox (1). On the platform (27) are two sets of muffler covers (28) and muffler holes (5) bearing blocks (29). Two adjacent bearing blocks (29) form a group. The two types of bearing blocks on the platform (27) are of equal height and width and are parallel to each other on a straight line. The axle holes (30) on the bearing blocks (29) are all interconnected. There is a long connecting beam (31) between the two sets of bearing blocks (29) to connect them into a whole. The connecting beam (31) is higher than the platform. It is a certain distance above the top of the bearing blocks (29). On the connecting beam (31), there are two flat rectangular openings (32) of the same size, width and height on both sides facing outward. The interior of this rectangular opening (32) is C-shaped, and it runs in a C-shaped arc from bottom to top. The interior of the opening is smoothly transitioned, such as Figure 40 As shown; the platforms of the two sets of axle supports (29) sit on the arc of the soundbox when viewed longitudinally from the center, and are parallel to the arc of the soundbox when viewed laterally. Note: The platforms to which the axle supports of the muffler are fixed can be directly fixed to the arc-shaped surface of the soundbox (1), or the axle supports and their platforms can be made into modules and then pasted onto the corresponding positions. Please see details. Figures 36 to 41 .

[0105] exist Figure 42In the middle, the soundproof cover (28) is a planar rectangle. A reinforcing beam (33) is symmetrically fixed on both sides of its upper surface. The front end of the reinforcing beam (33) is shorter than the front end of the soundproof cover (28), and its rear end extends beyond the length of the soundproof cover (28) and hangs outside. Its height is the same as the width of the axle pier (29). Its rear end is semi-circular, and there is an axle hole (30) in the middle of the semi-circle. The diameter of the axle hole (30) is the same as that of the axle hole (30) on the axle pier (29). There is a connecting beam (34) between the two reinforcing beams (33) to connect them together. The two axle piers (29) are connected by beams (31) on the two sides of the connecting beam (34) at symmetrical positions, and it has rectangular openings (32) of the same size. The interior of the rectangular opening (32) of the connecting beam (34) is C-shaped from bottom to top, with the upper end of the opening smoothly transitioning into the opening. ; In the middle of the upper surface of the muffler cover (28), there is a raised handle (36) for opening the muffler cover (28). Its front end is shorter than the front end of the muffler cover (28), and its rear end is the same length as the rear end of the muffler cover (28). Both ends are smoothly transitioned. The left and right sides of the handle (36) are parallel to the reinforcing beam (33) respectively. The lower surface of the muffler cover (28) is an inverted receiving groove (37). A lightweight muffler pad (38) is evenly and flatly pasted in the receiving groove (37). The muffler pad (38) should be slightly higher than the receiving groove (37) and covered with decorative cloth (39). The muffler pad (38) should be easily and tightly fastened to the sound hole (5) in its position to prevent sound from being transmitted. Tip: Components protruding from the surface of the soundbox can be cast into the arc-shaped outer surface of the soundbox at one time, which can better support the axle block and all objects protruding from the surface of the soundbox. After making everything according to the style shown in the drawings, create modules and securely attach them to the corresponding positions. (Please refer to...) Figures 43 to 52 .

[0106] exist Figure 53 In the middle, the length and width dimensions of the muffler cover (28) are the same as the length and width dimensions of the platform (27) with the muffler hole (5). The front ends of the two sets of reinforcing beams (33) on the upper surface of the muffler cover (28) are shorter than the muffler cover (28). After it starts vertically and slopes upward, it transitions horizontally for a section. Its end is longer than the muffler cover (27). The semi-circular end ends are accurately inserted into the gaps between the two sets of axle supports (29) fixed on the soundbox. When the axle hole (5) on the rear end of the reinforcing beam (33) and the axle hole (5) on the axle support (29) are aligned and connected, the shaft rod (35) with the fixing bolt cap is inserted into the outside of the axle hole (5) at one end of the axle support (29). The bolt is tightened on the outside of the axle hole (5) at the other end of the axle support, so that the muffler cover (28) and the axle support (29) are connected together, becoming a movable cover that can be opened and closed at will on the sound hole (5). See Figure 56 This is a side view of the muffler cover (28) fastened to the sound outlet (5). Figure 57When the muffler cover (28) is opened and upright, it forms a vertical front with the shaft pier (29). At this time, the connecting beam (31) between the two shaft piers (29) and the connecting beam (34) on the muffler cover (28) above it are vertically aligned. Even the flat rectangular holes (32) on the two beams are vertically aligned. Insert the two sides of the C-shaped spring sheet (40) into the flat rectangular holes (32) on the connecting beam (31) and the connecting beam (34) respectively. They bend the C-shaped spring sheet (40) into a C-shape inside the flat rectangular holes (32) and cannot fall out. The C-shaped spring sheet (40) has appropriate bending and straightening deformation characteristics. With just a light press, the muffler cover (28) can be fastened to the muffler hole (5). Pulling it upwards again will open the muffler cover (28). When it reaches a 90-degree angle with the platform (27) of the muffler hole (5), the tension of the C-shaped spring (40) inside the flat rectangular hole (32) will be large enough to support the muffler cover (28) and prevent it from falling down on its own, thus achieving the purpose of opening the muffler hole (5). When it is necessary to close the muffler hole (5), simply press the muffler cover (28) downwards. Because the muffler pad (38) inside the receiving groove (37) is in direct and tight contact with the muffler hole (5) without any gaps, the sound in the sound outlet hole (5) cannot be transmitted outwards. (This application of using a spring to control the opening and closing of the muffler cover (28) is based on the principle of using a C-shaped spring to control the opening and closing of the eyeglass case, which has been used in old-fashioned eyeglass cases for many years.) Figure 58 yes Figure 57 The side elevation view is a detailed drawing showing the silencing cover (28) opened, perpendicular to the platform (27) of the silencing hole (5) at a 90-degree angle. Please refer to [link / reference]. Figures 54 to 58 .

[0107] exist Figure 59 The second scheme involves the muffler cover (28) covering the surface of the exhaust hole (5). The main structure and shape of the second scheme are as follows: Figure 53The first scheme is the same in style, the difference being that: at an appropriate position on the upper surface of the rear end of the reinforcing beam (33) on the upper surface of the silencing cover (28), an independent positioning beam (41) is protruded upwards. The positioning beam (41) is the same width as the reinforcing beam (33), and its end is longer than the reinforcing beam (33), forming a semi-circular section that is suspended in the air. The upward tilt angle of the positioning beam (41) protruding from the upper plane of the reinforcing beam (33) (which is also equal to the upward tilt angle from the platform (27) of the sound exhaust hole (5)) is approximately Within a 135-degree angle; after the shaft hole (5) on the reinforcing beam (33) and the shaft hole (5) on the axle pier are threaded through the shaft rod (35), the semi-circular arc at the end of the reinforcing beam (33) will not scrape against the height of the connecting beam (34) no matter how it rotates; after the silencing cover (28) is opened from the upper surface of the sound outlet hole (5) and forms a straight line with the vertical axle pier (29), it continues to tilt backward within a 135-degree angle to ensure that the overall weight of the silencing cover (28) will not be affected by various external factors. When the force swings and automatically reverses and re-clamps back onto the exhaust hole (5), the reinforcing beam (33), due to the angular difference between itself and the positioning beam (41), will abut against the lower edge of the connecting beam (34), thus preventing the positioning beam (41) from sliding further downwards and also preventing the muffler cover (28) from opening to a large angle. To ensure that the muffler cover (28) does not automatically reverse and re-clamp back onto the exhaust hole (5), a middle section can be placed between the positioning beam (41) and the connecting beam (34). At the center position, fix an oval plastic button (44). (The oval plastic button has a small vertical cylinder fixed to the arc surface of the body (1).) At the position where the connecting beam (34) intersects with the oval plastic button (44), make a hole (5) so that the hole (5) on the connecting beam (34) is inserted into the oval plastic button (44) of the positioning beam (41) with appropriate tightness. This ensures that the muffler cover (28) does not automatically reverse and snap back onto the sound hole (5).When the muffler cover (28) needs to be re-covered on the sound hole (5), simply pull back the handle (36) in the middle of the upper surface of the muffler cover (28), and the muffler cover (28) will be re-covered on the sound hole (5). To ensure that the muffler cover (28) is tightly and seamlessly fastened to the muffler hole (5), a long plastic buckle (43) can be fixed to the front end of the handle (36) of the muffler cover (28). When it is necessary to cover the muffler cover (28) tightly, pull the long plastic buckle (43) down to make the hole (5) at its front end fit snugly into the oval plastic button (44) fixed to the upper surface of the soundbox (1), so that the muffler cover (28) is properly closed. The decorative cloth (39) on the surface of the damping pad (38) in the receiving groove (37) is attached to the sound hole (5). When it is necessary to open the damping cover (28), simply lift the long buckle (43) and then pull the handle (36) upwards. Tip: To ensure the damping cover is tightly fastened to the damping hole, you can also use nylon adhesive strips to fix it to the long buckle (43) and the corresponding place on the surface of the soundbox. You can also use 'convex and concave snaps' to fix it to the long buckle (43) and the corresponding place on the surface of the soundbox. When needed, stick them together or snap them together to ensure that the damping cover (28) is tightly fastened to the hole (5) on the upper surface of the soundbox. You can also use 'convex and concave snaps' to fix it to the long buckle (43) and the corresponding place on the surface of the soundbox. When needed, snap them together to ensure that the damping cover (28) is tightly fastened to the hole (5) on the surface of the soundbox. Please see details. Figures 60 to 67 .

[0108] exist Figure 68 In the middle section, along the diameter change from the rear end (3) of the soundbox to the neck (47), the smallest diameter sound holes (5) on the soundbox (1) are arranged around the transition slope (46); a short rectangle (49) of moderate hardness protrudes from the outer surface below the neck opening (48). Please see details. Figures 69 to 71 .

[0109] exist Figure 72In the middle, around the perimeter of the inner wall end of the neck cover (50), a ring of sliding buckles (51) is fixedly protruding. The upper surface of the sliding buckle (51) is flat, and the lower surface slopes inward and upward from the inner end of the inner wall, intersecting with the upper horizontal edge to form a triangle. On the center line of the upper surface of the neck cover (50), a ring of horizontal control rings (52) is concentric with the sliding buckle (51) and inside it. The highest part of the ring is symmetrically distributed on the left and right along the center line, and the rings become smoother as they become more rounded. The normal height is still higher than the side wall of the neck cover (50); along this center line; on the wall thickness (4) at the end of the side wall of the neck cover (50), a rectangular, flexible, and durable folding strip (53) extends out with a width symmetrical to the left and right, approximately two to three times the width; in the middle of the upper surface of the neck cover (50), a rectangular handle (36) is fixed, its end parallel and perpendicular to the folding strip (53), and the lower surface of the handle (36) is concave. Please see details. Figure 73 , 74 .

[0110] exist Figure 75In the middle, the neck cover (50) is fastened onto the neck opening (48). Slightly press down on the sliding buckle (51) at the inner end of the neck cover (50). Using the elasticity of the neck cover (50) and the inverted triangle's tilt, it slides down along the short rectangle (49) outside the neck (47) to its underside, causing the horizontal upper surface of the sliding buckle (51) to engage with the lower surface of the short rectangle (49). This prevents the neck cover (50) from being directly opened without external force. The folding strap (53) is then vertically smoothed onto the surfaces of the necks (47) that are close together, and it is naturally, smoothly, and appropriately bonded. When it is necessary to open the neck opening (48), grasp the handle (36) on the upper surface of the neck cover (50) and pull upwards, causing the neck cover (50) to open to the desired position. When the neck opening (48) is vertical, the highest (longest) part of the horizontal control ring (51) inside the neck cover (50) will rest on the rim of the upper plane of the neck opening (48), preventing the neck cover (50) from snapping back onto the neck opening (48) on its own. In this way, the neck opening (48) becomes the sound hole (5). When the neck cover (50) needs to snap back onto the neck opening (48), simply pull back and press the handle (36), and the neck cover (50) will snap back onto the neck opening (48). The center of the width of the highest point of the horizontal control ring (52) is symmetrically aligned with the center line of the diameter of the neck cover (50), and is concentric with the center of the folding strap (53) and the longitudinal center line of the handle (36). To prevent the above method from being ineffective, the author also considered a second method: fastening the neck cap (50) to the neck opening (48). If the effect is not good after installing the sliding buckle (51) on the neck cap (50), it and the short rectangle (49) on the neck (47) can be removed. After directly fastening the neck cap (50) to the neck opening (48), a long rectangular buckle (43) of moderate softness and hardness can be fixed to the end of the handle (36) on the upper surface of the neck cap (50). The front end of the long buckle (43) has a hole (5). After the neck cap (50) is fastened to the neck opening (48), the long buckle (43) on its upper surface can be smoothed down and the end can be... The hole (5) is inserted into the oval plastic button (44) fixed on the surface of the soundbox (1). The large diameter part in the middle of the oval controls the hole (5) to prevent it from falling out by itself, thus firmly fastening the neck cap (50) to the neck opening (48). When it is necessary to open the neck opening (48), the long strap buckle (43) is opened, and the neck cap (50) is opened perpendicular to the plane of the neck opening (48). The horizontal control ring (51) inside the neck cap (50) will rest on the rim of the upper plane of the neck opening (48), preventing the neck cap (50) from snapping back onto the neck opening (48) by itself. This also achieves the purpose of the neck opening (48) as a mute hole (28). Please see details. Figures 76 to 82 .

[0111] exist Figure 83The image shown is a partial three-dimensional view of the soundbox of a plastic soundbox and the soundboard surface of a second technical solution. This solution is based on the manufacturing structure and shape of the first technical solution, with some modifications. The modifications are as follows: On the soundboard surface (2) of the plastic soundbox (1) in the first solution, a concentric circle is drawn with the center of the circular plastic soundboard surface as the center. The concentric circle is then cut off to form a large circular hole (5). Adhesive is applied to the outer surface of the large circular hole (5) at an appropriate width. A matching python skin (54) that meets the bonding requirements is then pasted on and ensured to be firm, so that the python skin (54) is pasted on the center part of the plastic soundboard surface (2). Make the skin; the subsequent installation parts such as hanging the strings, bridge, and tuning are exactly the same as the process in technical solution one; please understand that I will not repeat the description; (Important note; after making a large concentric circle hole (5) in the middle of the plastic skin (2), the compressive, torsional and tensile strength of the plastic body (1) should not be weaker than the strength of the plastic skin (2). In order to prevent deformation or twisting under external pressure, it is necessary to strengthen the wall thickness (4) of the plastic skin (2). Alternatively, the hole (5) in the middle of the plastic skin (2) can be cut smaller to ensure that the strength of the python skin skin (54) remains unchanged.

Claims

1. A speaker, characterized in that; It can be made of wood, bamboo, or chemical plastics.

2. The speaker according to claim 1, characterized in that; The plastic speaker box is used on the soundbox of the erhu, and the skin of the erhu is also made of plastic.

3. The speaker according to claim 1 or 2, characterized in that; The erhu resonator has a series of sound holes with different diameters.

4. The speaker according to claims 1 to 3, characterized in that; An array of mufflers of varying lengths and widths are installed on the erhu's soundbox; the neck cover also functions as a muffler.

5. The speaker according to claim 3 or 4, characterized in that; Each set of sound-emitting holes is equipped with a sound-absorbing cover that opens to cover it.

6. The speaker according to claim 5, characterized in that; It also includes the shaft hole fixed on the muffler cover and the shaft hole fixed on the soundbox, which are connected by a shaft rod; the shaft and various objects fixed on the soundbox can be prefabricated modules and then pasted on the soundbox to a predetermined position.

7. The speaker according to claim 5 or 6, characterized in that; After the silencing cover and the shaft block are connected, it can also be opened at will to cover the sound exhaust hole. The opening and closing of the sound exhaust hole is controlled by a spring buckle, or it can be opened and closed by a snap fastener and adhesive tape.

8. The speaker according to claim 1 or 2, characterized in that; The erhu neck and the hole on the plastic soundbox are inserted into each other and then isolated by a sound-dampening sleeve.

9. The speaker according to claim 1 or 2, characterized in that; It includes the curved base on the lower surface of the soundbox, which is fastened together by a wooden strip fixed to the lower surface of the soundbox and a groove fixed to the curved base, and screwed together; at the same time, it is fastened by the hole through which the neck passes through the soundbox and the curved base; there is a layer of soundproofing cloth between the soundbox and the curved base.

10. The speaker according to claim 1 or 2, characterized in that; The center part of the plastic skin of the erhu is cut off, and then python skin is pasted on as the skin, so that it is a double-material skin surface on the erhu.

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