Method for producing a musical string

Abstract

The invention relates to a musical string (1), in particular for a stringed instrument and / or a plucking instrument, comprising at least one supporting string core (2) and at least one first winding element (3), said first winding element (3) being wound about the string core (2) in the shape of a helical line and having a cross-section with a width (12, 13) and a height (14, 17), wherein the height (14) is normal relative to the string core (2), and string edges (11) of the first winding element (3) rest against each other at least in some regions. According to the invention, the first winding element (3) has a first pitch angle (α) in a first longitudinal section (5) of the musical string (1), the first winding element (3) has a second pitch angle (β) in a second longitudinal section (4) of the musical string (1), and the second pitch angle (β) differs from the first pitch angle (α).

Description

[0001] Method for producing a musical string

[0002] The invention relates to a method for producing a musical string according to the preamble of patent claim 1.

[0003] Most known musical strings exhibit essentially homogeneous mechanical properties across their length in the playing range. These strings are mounted on musical instruments, such as violins or guitars, and are used to produce sound on these same musical instruments. The string is stimulated by a musician, for example, strumming or plucking. To stimulate vibrations of different frequencies, and thus to produce different tones and timbres, the string is clamped to a shortened length either with the fingers or a mechanical clamp. This creates a shortened string with a higher vibration frequency, since every vibrating string has its own natural frequency that depends solely on its mechanical properties. Plucking or strumming serves to supply energy and determines the shape of the vibrations produced.

[0004] It has proven disadvantageous that with shorter fretted or clipped string lengths, the sound of the string differs significantly from the sound of the same string with a longer vibrating string length. As the vibrating or fretted string length decreases, musical strings generally take on an increasingly closed or constricted sound character. As a result, musical instruments in different frequency ranges, or in musical terms, different positions, exhibit different sound characteristics, as well as different handling characteristics and a different playing feel for the musician.Since it is often possible to excite the same note on different strings on string instruments – and therefore also with different lengths of the respective string – the musical instrument can have a different tonal character in the same frequency range, depending on which musical string and in which position (position of the hand on the fingerboard) the note was produced. This can have a negative impact on the tonal character of the musical instrument in question as well as the interpretation or reproduction of a piece of music. Furthermore, it has been shown that virtuosos in particular require special or unusual musical strings in order to be able to develop their full potential, and that the tonal or playing technical possibilities of available musical strings are often inadequate. Such musicians could play even better or even more effectively.play in a more differentiated way, but are often limited by the fact that conventional musical strings do not allow or physically do not allow certain musical expression possibilities.

[0005] As already mentioned above, musical strings vibrate at a natural frequency, which depends on the length of the string when vibrated. This natural frequency also depends on the mass of the string, which is why most musical strings, in addition to a supporting core, have at least one winding layer wound around the core. This winding layer, which primarily serves to increase the mass per unit area to a specified value, also directly influences the sound characteristics of a musical string. The winding layer can influence the overtone behavior as well as the damping of the musical string.

[0006] The object of the invention is therefore to provide a method for producing a musical string of the type mentioned at the outset, with which the disadvantages mentioned can be avoided and which has a large number of possibilities for sound adjustment.

[0007] According to the invention, this is achieved by the features of patent claim 1.

[0008] This provides expanded possibilities for adjusting or specifying the sound and handling of a musical string.

[0009] The sound of a musical string and its tonal character are primarily influenced by the overtones of a vibration. The flexural rigidity of a musical string directly influences the overtones, especially their amplitude, but also their frequency (harmonic or inharmonic overtones). Flexural rigidity directly affects whether certain overtones occur at all. The number and frequencies of the overtones directly influence the sound of a musical string. By adjusting the tensile forces and / or spinning angles and / or core tensile forces to different values ​​or magnitudes in different sections of the musical string being manufactured, it is possible to achieve a situation where the first winding element on the finished musical string has different pitches in the respective sections. This results in different flexural rigidities of the musical string in different length sections.Bending stiffness has a direct influence on the overtone behavior and timbre of a musical string. By varying the bending stiffness of different areas or lengths of the musical string, the sound, timbre, playing characteristics, and response of a musical string can be directly and specifically influenced.

[0010] The pitch of the first winding element also influences the local damping. This allows different local damping to be achieved in different areas of the string, further influencing the sound of the string.

[0011] This allows the creation of musical strings with special properties. Depending on the specific positions of the various longitudinal sections and the respective tensile forces and / or spin angles and / or core tensile forces, it is possible to create musical strings that are particularly well-suited to being stimulated by stroking or plucking. This makes it possible to create either particularly balanced musical strings or very specialized musical strings for specific applications that require specific properties to enable the musician to achieve the highest virtuosity in their musical expression.

[0012] This makes it possible to create musical strings that have very similar sound characteristics and very similar properties when played with different lengths, and therefore with different fundamental tones.

[0013] The invention further relates to a musical string according to the preamble of claim 15. The invention therefore has the further object of providing a musical string of the above-mentioned type, with which the aforementioned disadvantages can be avoided and which has a large number of possibilities for sound adjustment.

[0014] According to the invention, this is achieved by the features of patent claim 12.

[0015] This makes it possible to create a musical string which has the advantages already described above.

[0016] The subclaims relate to further advantageous embodiments of the invention.

[0017] The invention will be described in more detail with reference to the accompanying drawings, in which only preferred embodiments are shown by way of example. In the drawings:

[0018] Fig. 1 is a schematic representation of an object musical string;

[0019] Fig. 2 shows a detail of an embodiment of a musical string according to Fig. 1 in a partially sectioned and simplified representation;

[0020] Fig. 3 a part of the variant of the musical string according to Fig. 2 in plan view; and

[0021] Fig. 4 shows an example of the course of the tensile force during production over the length of the string core.

[0022] 1 to 3 each show a musical string 1 or details of a musical string 1, in particular for stringed and / or plucked instruments, comprising at least one supporting string core 2 and at least one first winding element 3, which first winding element 3 is wound in the form of a helical line around the string core 2 and has a cross-section with a width 12, 13 and a height 14, 17, wherein the height 14 is arranged normal to the string core 2, and wherein side edges 11 of the first winding element 3 abut one another at least in regions, wherein the first winding element 3 has a first pitch angle α in a first longitudinal section 5 of the musical string 1, wherein the first winding element 3 has a second pitch angle β in a second longitudinal section 4 of the musical string 1, and wherein the second pitch angle β is different from the first pitch angle α.

[0023] 1 and 2 show details of a musical string 1, which was manufactured by means of a method, wherein at least one first winding element 3 is wound in the form of a helical line at least indirectly around, in particular directly onto, a string core 2 of the musical string 1, wherein the first winding element is wound around a first longitudinal section 5 of the string core 2 and a second longitudinal section 4 of the string core 2, which is different from the first longitudinal section 5, wherein during the winding of the first longitudinal section 5, the first winding element 3 is wound with a first tensile force 7, and during the winding of the second longitudinal section, the first winding element 3 is wound with a second tensile force 8, which is different from the first tensile force 7, and / or wherein during the winding of the first longitudinal section 5, the first winding element 3 is wound with a first spinning angle,and that during the winding of the second length section, the first winding element 3 is wound with a second spinning angle ö different from the first spinning angle,

[0024] According to a preferred embodiment, during the winding of the first length section 5, the string core 2 can also be tensioned with a first core tensile force, and during the winding of the second length section, the string core 2 can be tensioned with a second core tensile force different from the first core tensile force.

[0025] This provides expanded possibilities for adjusting or specifying the sound and handling of a musical string 1.

[0026] The sound of a musical string 1, or rather its sound character, is primarily influenced by the overtones of a vibration. The bending stiffness of a musical string 1 directly influences the overtones, especially their amplitude, but also their frequency. The bending stiffness directly influences the amplitude of certain overtones and the degree of damping in this frequency range. Damping influences the temporal variation of the vibration. The number, frequencies, amplitudes, and temporal behavior of the overtones directly influence the sound of a musical string 1.

[0027] By means of the tensile forces 7, 8, 9 and / or spinning angles and / or preferably the core tensile forces, which are set to different values ​​or sizes in different partial sections of the musical string 1 to be manufactured, it can be achieved in each case that the first winding element 3 on the finished musical string 1 has different pitches in the respective partial sections.

[0028] This results in different bending stiffnesses of the musical string 1 in the different length sections 4, 5, and 6. The bending stiffness has a direct influence on the overtone behavior and the timbre of the musical string 1. By having different areas or length sections of the musical string 1 exhibit different bending stiffnesses, the sound, timbre, playing behavior, and response of a musical string 1 can be directly and specifically influenced.

[0029] The pitch of the first winding element 3 also influences the local damping. This allows different local damping to be achieved in different areas of the musical string 3, further influencing the sound of the musical string 3.

[0030] This allows the creation of musical strings 3 with special properties. Depending on the specific positions of the various longitudinal sections 4, 5, 6 and the respective tensile forces 7, 8, 9 and / or spin angles θ and / or core tensile forces, it is possible to create musical strings 1 that are particularly suitable for being stimulated by stroking or plucking. This makes it possible to create either particularly balanced musical strings 1 or very special musical strings 1 for special applications that require special properties to enable the musician to achieve the highest virtuosity in their musical expression.

[0031] This makes it possible to create, above all, musical strings 1 which, with different length sections 4, 5, 6, and therefore with different fundamental tones, have very similar sound characteristics and very similar properties when bowed.

[0032] The embodiments and detailed views shown in Figures 1, 2, and 3 are simplified representations. The proportions may not necessarily correspond to the intended actual proportions. For better understanding, individual parts may be shown in greatly enlarged views or with significantly exaggerated proportions.

[0033] A preferred area of ​​application for such musical strings 1 are instruments of the violin family, hence the violin, the viola, the violoncello, and the bass or double bass. Other preferred instruments for using musical strings 1 according to the invention are the viola da gamba and the viola d'amore. Furthermore, they can also be advantageously used for guitars. Such musical strings 1 according to the invention can preferably be provided for all bowed and / or plucked string instruments in which the vibrating length of the musical string 1 is varied to generate sounds with different fundamental vibrations.

[0034] Musical strings 1 according to the invention are intended for generating tone-generating vibrations, wherein a specific type of musical string 1 is intended for use with a specific type of musical instrument, and further comprise a tuning pitch and a so-called tuning weight as features. The tuning pitch indicates the fundamental pitch with which a partial length of the musical string 1—within the total length of the musical string 1 between its end regions 15, 16—of the length of the scale of the specific type of musical instrument vibrates when the musical string 1 is loaded with the tuning weight, thus tensioned, and has been excited to vibrate. In this technical field, the term "tuning weight" refers to the force with which the musical string 1 is to be tensioned. Another term for the tuning weight is string tension force.

[0035] Musical strings 1 according to the invention have a string core 2, which is intended and designed to absorb the force or tension to which the musical string 1 is exposed when strung on a musical instrument. The string core 2 is therefore load-bearing. The string core 2 comprises, in particular, a rope and / or a wire and / or is designed as a composite core. The string core 2 preferably comprises at least one plastic thread and / or a wire rope and / or a natural gut and / or an artificial gut and / or a plastic band and / or a plastic flat wire and / or a steel wire and / or a steel rope.

[0036] The musical string 1 in question preferably has a shape in the tensioned state which can be enclosed by a substantially circular-cylindrical envelope.

[0037] Musical strings 1 for fundamental tones with lower frequencies, preferably less than 700 Hz, in particular less than 500 Hz, generally have windings or at least a first winding layer in order to increase the mass per unit area of ​​the musical string 1. The fundamental frequency at which a musical string 1 vibrates depends on the vibrating length or scale of the respective musical string 1, the force with which the respective musical string 1 is tensioned, and the mass per unit area of ​​the musical string 1. Preferably, the musical string 1 has at least a first winding layer, which is formed by at least one first winding element 3, wherein the at least one first winding element 3 is wound helically at least indirectly around the string core 2. The first winding element 3 therefore does not necessarily have to be wound directly or immediately onto the string core 2, but merely has to have the same axis of rotation as the string core.Several winding elements can also be wound next to each other in the form of a multi-start helical line and together form the first winding layer.

[0038] The musical string 1 preferably has an additional winding layer, which is either arranged between the first winding element 3 and the string core 2, or which additional winding layer encompasses the first winding layer with the first winding element 3. This additional winding layer can also be referred to as a central winding layer or a covering winding layer. The rotation axis of the string core 2 is also the rotation axis of the first winding element 3 and the additional winding element. The first winding element 3 is wound around the string core 2 even if another winding element is arranged between them. The winding variants described are preferably applied to the first winding element 3 as well as to the additional winding element.

[0039] As shown in Fig. 2, the musical string 1 further comprises a damping means 18 which surrounds the string core 2 and which is in mechanical contact with the next winding element, currently the first winding element 3.

[0040] According to a first preferred variant, the first winding element 3 and / or a further winding element comprises a metal selected from the group: aluminum, magnesium, iron, chromium, nickel, silicon, silver, gold, platinum, rhodium, ruthenium, rhenium, palladium, osmium, copper, tungsten, tantalum, manganese, molybdenum, wherein each of the substances mentioned can be provided as a pure substance in the technical sense, but also as a component of an alloy.Musical strings 1 have proven to be particularly advantageous in which the at least one winding layer 3 is formed from at least one alloy selected from the group: steel, aluminum-magnesium alloys, aluminum-magnesium-manganese alloys, silver-copper alloys, silver-platinum alloys, silver-rhodium alloys, silver-palladium alloys, iron-chromium-nickel-silicon-aluminum alloys, beryllium alloy, phosphor bronze, iron-aluminum-chromium alloys, iron-chromium-aluminum alloys, aluminum-iron-chromium alloys, aluminum-silicon-chromium alloys. Steel is preferably steel comprising alloying components selected from the group: carbon, chromium, nickel, molybdenum, vanadium, manganese, tungsten, with particular preference being given to carbon steels (C content of 0.01% to 0.03%) and chromium-nickel steels (Cr content of 17% to 20%, Ni content of 8% to 10%).Furthermore, it can be provided that the at least one winding layer 3 has a surface coating, wherein a coating with at least one metal, in particular brass, tin, nickel, and / or a plastic, in particular a polymer, can be provided. Preferably, it can be provided that a predeterminable number of coatings are arranged one above the other.

[0041] According to a second preferred variant, the first winding element 3 comprises a plastic selected from the group: polymers and / or aramid and / or PEK and / or PAEK and / or PEEK and / or PBT and / or polyester and / or nylon and / or polyethylene and / or PET and / or PEET and / or PES and / or PE and / or PP and / or POM and / or PTFE and / or PVDF and / or PVDC and / or HPPE and / or PA and / or PVC.

[0042] The first winding element 3 has a cross-section. It is preferably provided that the first winding element 3 has a substantially round, in particular substantially circular or elliptical, cross-section. "Round" is understood, in particular, to mean a cross-section that is free of one or more corners or edges and free of one or more straight lines.

[0043] As an alternative to the aforementioned round cross-section, it is particularly preferred that the first winding element 3 has a cross-section with at least two, preferably three or four, straight, in particular essentially parallel, sides and rounded connecting regions between the sides. In particular, the cross-section has the shape of a quadrilateral with rounded corners, as shown in Fig. 2.

[0044] Each cross-section or each cross-section shape of the first winding element 3 has a width 12, 13 and a height 14, 17. The height 14, 17 is arranged perpendicular to the string core 2 and is to be measured. The first winding element 3 can have different cross-sectional shapes along its length.

[0045] Each cross-section or each shape of a cross-section of the first winding element 3 has two side edges 11. In the case of round cross-sections, the lateral ends of the cross-section are the side edges 11.

[0046] The following describes the method for producing a specific musical string 1 and its structure. Reference is made to longitudinal sections 4, 5, 6 of the musical string 1. A longitudinal section 4, 5, 6 is a region or part of a musical string 1 or of the string core 2 of this musical string 1, which region is arranged along the longitudinal extent of the musical string 1. Three such longitudinal sections 4, 5, 6 are shown in Fig. 1: the first longitudinal section 5, the second longitudinal section 4, and the third longitudinal section 6. Furthermore, the so-called playing area 10 is shown in Fig. 1. A longitudinal section 4, 5, 6 has - in the longitudinal extent of the musical string 1 - at least a length which is sufficient to measure the prevailing pitch angle α, β. Preferably, the length sections 4, 5, 6 are at least 1 mm, preferably at least 10 mm, in particular at least 50 mm, particularly preferably at least 100 mm, long.According to a particularly preferred embodiment, at least one of the length sections 4, 5, 6 extends over half the playing area 10, in particular two thirds of the playing area 10, of the musical string 1. The individual length sections 4, 5, 6 can be spaced apart from one another.

[0047] During the manufacture of a musical string 1, the first winding element 3 is wound around the string core 2 in the form of a helical line or spiral line. Another term for "helical line" is "helix-shaped."

[0048] According to a first variant of the manufacturing method, the first winding element 3 is tensioned with a first tensile force 7 during the winding of the first longitudinal section 5 and is wound around the string core 2 under the action of this force. As shown in Fig. 3, the tensile force 7, 8, 9 acts along a so-called longitudinal extent of the first winding element 3 or is applied perpendicularly to the cross-section of the first winding element 3. During the winding of a second longitudinal section 4, which is different from the first longitudinal section 5, the first winding element 3 is wound with tension using a second tensile force 8. The second tensile force 8 differs from the first tensile force 7. The different tensile forces 7, 8, 9 lead to different deformations of the string core 2 and thus to different pitch angles α, β of the first winding element 3.

[0049] There are various known technical possibilities for applying this tensile force 7, 8, 9 and for adjusting and maintaining its strength. In particular, it is provided that the second tensile force 8 is set at least 10%, preferably by 50% to 300%, different from the first tensile force 7. In practice, it has proven advantageous if the first tensile force 7 and / or the second tensile force 8 are set to a value between 0.5 N and 100 N. This value range has proven advantageous in production. Preferably, the tensile force 7, 8, 9 is kept essentially constant within a length section 4, 5, 6 or during its winding. However, a continuous change 19 can also be provided, as shown in Fig. 4.

[0050] According to a second variant of the manufacturing method, it is provided that during the winding of the first longitudinal section 5, the first winding element 3 is wound with a first spinning angle, and that during the winding of the second longitudinal section, the first winding element 3 is wound with a second spinning angle θ different from the first spinning angle. In practice, the spinning angle θ is understood to be the angle between the axis of rotation of the string core 2 or the first winding layer and the longitudinal extent of the first winding element 3. The second spinning angle θ is shown in Fig. 3. Different pitch angles α, β of the first winding element 3 are a direct consequence of different spinning angles θ. This effect is further intensified by different tensile forces 7, 8, 9 and / or different core tensile forces.

[0051] As shown in Fig. 3, during the winding process, it can preferably be provided that the first and / or second spinning angle ö is selected or adjusted such that the first winding element 3 - upon direct contact with the string core 2 or another winding layer arranged underneath - partially projects over or overlaps the adjacent and previously wound part of the first winding element 3. Alternatively, the first and / or second spinning angle ö can be selected such that the first winding element 3 - upon direct contact with the string core 2 or another winding layer arranged underneath - always has a distance from the adjacent and previously wound part of the first winding element 3.

[0052] Preferably, the second spinning angle θ is set at least 0.25 degrees, in particular 1 to 10 degrees, different from the first spinning angle. This allows advantageously different pitch angles α, β to be created. In particular, the first spinning angle and / or the second spinning angle θ are set to a value between 50 degrees and 89 degrees. The first and / or the second spinning angle θ are each relative to the connecting line between the fastening devices to which the two ends of the musical string 1 are fastened, clamped, or hooked during production. In Fig. 3, this corresponds to axis 20.

[0053] Preferably, the spinning angle θ is kept essentially constant within a length section 4, 5, 6 or during its winding. However, a continuous change in the spinning angle θ can also be provided, as shown in Fig. 4 regarding the tensile forces.

[0054] Furthermore, in a preferred third variant of the manufacturing method, it can also be provided that during the winding of the first longitudinal section 5 - in addition to the first and / or second variant - the string core 2 is tensioned with a first core tensile force, and that during the winding of the second longitudinal section 4, the string core 2 is tensioned with a second core tensile force that differs from the first core tensile force. The core tensile force is the force with which the string core 2 is or will be tensioned during the manufacturing process. The core tensile force has a direct influence on the flexural rigidity and deformation of the string core 2. Different core tensile forces therefore lead to different pitch angles α, β of the first winding element 3.

[0055] Preferably, the second core tensile force is set at a value different from the first core tensile force by at least 10%, preferably by 50% to 700%. This allows advantageously different pitch angles α, β to be created. In particular, the first core tensile force and / or the second core tensile force are set to a value between 2 N and 350 N, in particular between 7 N and 250 N.

[0056] Preferably, the core tensile force is kept essentially constant within a length section 4, 5, 6 or during its winding. However, a continuous change in the core tensile force can also be provided, as shown in Fig. 4 regarding the tensile forces.

[0057] All three variations can be combined. The change in tension 7, 8, 9 can be combined with the change in the spinning angle ö. The change in tension 7, 8, 9 can be combined with the change in the core tension. The change in the core tension can be combined with the change in the spinning angle. The change in tension 7, 8, 9 can be combined with the change in the spinning angle and the change in the core tension.

[0058] In addition to specifying or changing the tensile forces 7, 8, 9 and / or the spinning angles δ and preferably also the core tensile forces, the pitch angles α, β can also be influenced by the position of the winding point at which the first winding element 3 is wound at least indirectly around the string core 2. The winding point is a point along the longitudinal extent of the string core 2, the position of which on the string core 2 changes during the winding process.

[0059] The string core 2 is clamped on both sides or on both end regions, by which fastening the position of the end regions is essentially fixed in at least one axis.

[0060] The shape of the string core 2 follows a bending line during the winding process. Depending on the distances between the first winding point 3 and the lateral attachment points or supports, the deflection of the string core 2 also varies—assuming otherwise constant tensile forces 7, 8, 9, spinning angles δ, or core tensile forces. This can influence the pitch angles α, β.

[0061] In addition to the first and second length sections 4, 5, the musical string 1 can also be manufactured with further length sections 6 with further different tensile forces 9 and / or spinning angles and preferably also core tensile forces. During the winding of a third length section 6, which is different from the first length section 5 and the second length section 4, the first winding element 3 is preferably tensioned with a third force 9 that is different from the first force 7 and the second force 8 and / or wound with a third spinning angle that is different from the first spinning angle and the second spinning angle θ. Furthermore, in a preferred development, it can be provided that the string core 2 - in combination with one of the two variants mentioned above - is tensioned with a third core tensile force that is different from the first core tensile force and the second core tensile force. In this way, the vibration-related orThe tonal properties of musical string 1 can be adjusted even more precisely and in more detail.

[0062] Different transitions can be provided between the longitudinal sections 4, 5, 6. In a first preferred transition, the first longitudinal section 4 and the second longitudinal section 5 are formed substantially directly adjacent to one another. Fig. 3 shows a schematic representation of a substantially direct transition within only approximately one single revolution of the first winding element 3.

[0063] In a second preferred transition between the length sections 4, 5, 6, there is a substantially continuous transition region between the two length sections 4, 5, as shown in Fig. 4. In particular, it can be provided that the tensile forces 7, 8, 9 and / or the spinning angles and preferably also the core tensile forces are continuously changed, in particular continuously increased or continuously decreased, over a predeterminable section of the musical string 1, in particular at least over the entire playing area 10.

[0064] The change from the first tensile force 7 to the second tensile force 8 and / or from the first spinning angle to the second spinning angle ö and / or preferably from the first core tensile force to the second core tensile force preferably takes place during the continuous winding of the string core 2. The winding process or the rotation of the string core 2 is not stopped or interrupted.

[0065] The different levels or strengths of the tensile forces 7, 8, 9, as well as the different spinning angles and the different core tensile forces, each influence certain properties of the first winding element 3. In particular, cross-sections or widths 12, 13 and heights 14, 17 of the first winding element 3 can have different dimensions in different length sections 4, 5, 6 due to different tensile forces and / or spinning angles and / or core tensile forces. For example, a first cross-section of the first winding element 3 in the first length section 5 is different from a second cross-section of the first winding element 3 in the second length section 4. Furthermore, a first width 12 of the first winding element 3 in the first length section 5 is different from a second width 13 of the first winding element 3 in the second length section 4. If, for example, as in Fig.4, as shown by way of example, if the second tensile force 8 is greater than the first tensile force 7, the first cross-sectional area is larger than the second cross-sectional area. The type of deformation and thus also the dimensions of the first width 12 and the second width 13 depend on the material.

[0066] It is particularly preferred that the first winding element 3 is wound in such a way that side edges 11 of the first winding element 3 abut one another at least in some areas. The first winding element 3 therefore has a first and a second side edge 11 and is wound in such a way that the first side edge of a first winding circumference at least partially touches the second side edge of an immediately following second winding circumference. Figs. 2 and 3 each show details of preferred embodiments with side edges 11 of the first winding element 3 that contact one another at least in some areas. Alternatively, it can also be provided that the side edges of the immediately following winding circumferences are spaced from one another and therefore do not touch one another.

[0067] As already explained, the different tensile forces 7, 8, 9 cause different widths 12, 13 of one and the same winding element 3. Continuous lateral contact or contact of the side edges 11 of successive windings results in a change in the pitch angle α, β. The pitch angle α, β is defined analogously to the technical theory of screws.

[0068] In a musical string 1 produced according to the present method with side edges 11 that abut one another at least in some areas, the first winding element 3 has a first pitch angle α in a first longitudinal section 5 and a second pitch angle β in a second longitudinal section 4, wherein the second pitch angle β is different from the first pitch angle α. These first and second pitch angles α, β are shown in Fig. 3. These different pitch angles α, β are a direct result of the method. It has proven advantageous, both in terms of production and the possibilities for influencing the sound, for the second pitch angle β to differ from the first pitch angle α by 0.25 degrees to 19 degrees or by 20 degrees to 50 degrees. One such example is shown in Fig. 3. The difference angle y is also shown: y = β - α. If - as in Fig.4 - during the production of the musical string 1 the second tensile force 8 was greater than the first tensile force 1, then the second pitch angle ß is greater than the first pitch angle α. If during production - with unchanged core tensile force - the second spinning angle θ was greater than the first spinning angle, then the second pitch angle β is smaller than the first pitch angle α. If during production the second core tensile force was greater than the first core tensile force, then the second pitch angle β is smaller than the first pitch angle α. If the second pitch angle β is greater than the first pitch angle α, a predeterminable distance between the individual adjacent parts of the first winding element 3 can be achieved. A correspondingly designed longitudinal section of the musical string has a lower flexural rigidity compared to the more densely or tightly wound longitudinal sections.This can affect the sound and the use of musical string 1.

[0069] Different tensile forces 7, 8, 9 and / or different spinning angles and / or different core tensile forces lead to different contact forces on the string core or the damping means 18 and thus to a different penetration into them. The musical string 1 can therefore have different diameters in different length sections 4, 5, 6 after production. It is preferably provided that the musical string 1 is ground to a predeterminable, in particular common or identical, diameter. This can ensure that the mass coating is essentially the same over the entire length, but that the musical string 1 nevertheless has different overtone behavior and thus different sound properties in different length sections 4, 5, 6.

[0070] The following are principles for understanding and interpreting the disclosure in question. Features are typically introduced with the indefinite article "a, an, one, one." Therefore, unless the context indicates otherwise, "a, an, one, one" is not to be understood as a number.

[0071] A "substantially" in connection with a numerical value includes a tolerance of ± 10% around the stated numerical value, unless the context requires otherwise.

[0072] For ranges of values, the endpoints are included unless the context indicates otherwise.

Claims

P A T E N T A N S P R Ü C H E 1. A method for producing a musical string (1), wherein at least one first winding element (3) is wound in the form of a helical line at least indirectly around, in particular directly onto, a string core (2) of the musical string (1), wherein the first winding element is wound around a first longitudinal section (5) of the string core (2) and a second longitudinal section (4) of the string core (2) that is different from the first longitudinal section (5), characterized in that during the winding of the first longitudinal section (5), the first winding element (3) is wound under tension with a first tensile force (7), and that during the winding of the second longitudinal section, the first winding element (3) is wound under tension with a second tensile force (8) that is different from the first tensile force (7), and / or that during the winding of the first longitudinal section (5), the first winding element (3) is wound with a first spinning angle,and that during the winding of the second length section, the first winding element (3) is wound with a second spinning angle (ö) different from the first spinning angle., 2. Method according to claim 1, characterized in that the change is made from the first tensile force (7) to the second tensile force (8) and / or from the first spinning angle to the second spinning angle (8) during the continuous winding with the first winding element (3).

3. Method according to claim 1 or 2, characterized in that the second tensile force (8) is set at least 10%, preferably by 50% to 300%, different from the first tensile force (7).

4. Method according to one of claims 1 to 3, characterized in that the first tensile force (7) and / or the second tensile force (8) is set to a value between 0.5 N and 100 N, in particular between 1 N and 50 N.

5. Method according to one of claims 1 to 4, characterized in that the second spinning angle (θ) is set at least 0.25 degrees, in particular 1 to 10 degrees, different from the first spinning angle.

6. Method according to one of claims 1 to 5, characterized in that the first spinning angle and / or the second spinning angle (θ) are set to a value between 50 degrees and 89 degrees.

7. Method according to one of claims 1 to 6, characterized in that the first winding element (3) is wound in such a way that side edges (11) of the first winding element (3) abut one another at least in regions.

8. Method according to one of claims 1 to 7, characterized in that the first winding element (3) has a substantially round, in particular substantially circular or elliptical, cross-section.

9. Method according to one of claims 1 to 7, characterized in that the first winding element (3) has a cross-section with at least two, preferably three or four, straight, in particular substantially parallel in pairs, sides and rounded connecting regions between the sides.

10. Method according to one of claims 1 to 9, characterized in that the first longitudinal section (4) and the second longitudinal section (5) are formed substantially directly adjacent to one another.

11. Method according to one of claims 1 to 10, characterized in that at least one further winding element is wound helically around the first winding element (3) or between the string core (2) and the first winding element (3).

12. Method according to one of claims 1 to 12, characterized in that the musical string (1) is ground to a predeterminable diameter.

13. Musical string (1 ), in particular for string and / or plucked instruments, comprising at least one supporting string core (2) and at least one first winding element (3), which first winding element (3) is wound in the form of a helical line around the string core (2) and has a cross-section with a width (12, 13) and a height (14, 17), wherein the height (14) is arranged normal to the string core (2), and wherein side edges (11) of the first winding element (3) abut one another at least in regions, wherein the first winding element (3) has a first pitch angle (α) in a first longitudinal section (5) of the musical string (1), wherein the first winding element (3) has a second pitch angle (β) in a second longitudinal section (4) of the musical string (1), and wherein the second pitch angle (β) is different from the first pitch angle (α), characterized inthat a first width (12) of the first winding element (3) in the first longitudinal section (5) is different from a second width (13) of the first winding element (3) in the second longitudinal section (4).

14. Musical string (1) according to claim 13, characterized in that the second pitch angle (ß) is smaller than the first pitch angle (α).

15. Musical string (1) according to claim 13 or 14, characterized in that the second pitch angle (ß) is different from the first pitch angle (α) by 0.25 degrees to 19 degrees.

16. Musical string (1) according to one of claims 13 to 15, characterized in that a first cross section of the first winding element (3) in the first longitudinal section (5) is different from a second cross section of the first winding element (3) in the second longitudinal section (4).

17. Musical string (1) according to one of claims 13 to 16, characterized in that the musical string (1) has at least one further winding element which is wound helically around the first winding element (3) or between the string core (2) and the first winding element (3).

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