Instrumental mute

Abstract

A mute 10 for altering the timbre of a wind instrument. The mute has an open-ended body with a first open end 14, a second end 18 and side sections defining a body with an inner volume 12. A base at t

Description

Technical Field Of The Invention This invention relates to an instrumental mute. In particular, this invention relates to a mute that can be used with horn-type brass musical instruments, and which improves the playing response of a muted horn-type brass musical instrument by stopping or reducing standing waves which can cause some notes to be difficult to play in tune. The mute of the present invention enables horn-type brass musical instruments to be played in tune across their full range without any need to compensate for and correct intonation. Background It has been known for many years to utilise a mute when playing horn-type brass musical instruments. A mute is a device attached to a musical instrument which changes the instrument’s tone quality (timbre) or lowers its volume. The effect of the mute is mostly intended for artistic use, but it can also allow players to practice more quietly and discreetly. Known mutes are typically inserted into the flared end (bell) of the brass instrument. Most known mutes are received inside the bell of the brass instrument using cork pressed against the inside of the bell as a means of holding the mute in place. A mute changes the sound of the brass instrument in a certain way depending on the type of mute used. Generally, a mute for a brass instrument (trumpet, trombone, French horn, baritone horn, euphonium, tuba, etc.) lowers the volume and alters the timbre of the instrument. With horn-type brass musical instruments, the “straight mute” is the most commonplace, and is often used in classical music. A straight mute is generally shaped like a cone with the small opening received inside the bell of the brass instrument and an opposite, larger, flat closed end projecting outside the bell. Another commonly used mute is a “cup mute” which is often used in jazz music. A cup mute has a similar configuration to a straight mute, but it includes a cup on the flat closed end. All mutes work by reducing or altering the airflow in the instrument, which alters the volume and changes the resonance. Whilst mutes have proven popular due to their relatively inexpensive manufacture and ease of use to alter a particular sound to the instrument, they do suffer one main disadvantage in that they do not allow the instrument to be played in tune across its full range. This is because standing waves are formed inside the mute which affects the actual tone. The standing waves are representative of the harmonic tones in the vicinity of the open end of the bell, and they contribute to the pitch of the sound. With a mute clipped, or held, onto the end of the bell, the standing waves emanating from the flat closed end of the mute can interfere with the air column, and be reflected rearwardly from the flat closed end of the mute which leads to limitations across the instrument’s playing range. In order to address this problem, solutions have purported to reduce standing waves occurring in mutes. However, the lack of any real commercial or useful mute in the marketplace implies that the solutions described in the prior art have still not specifically addressed this significant problem. US 4,998,959 discloses a mute for horn-type brass musical instruments which comprises a dish-shaped annular body having a truncated convex base facing the interior of the instrument. In US 4,998,959, the annular body also includes an opening to permit air to flow through the body. The body also includes a slit extending perpendicularly from the opening to the edge of body to facilitate resonance of the body by permitting freer air flow through the body than if the slit were not present. In this way, the mute described in US 4,998,959 changes the timbre of the sound generated by horn-type instruments, yet maintains the majority of the presence or volume of the sound present prior to the placement of the mute onto the instrument. None of the prior art mutes describe or teach a device that can be used with hom-type brass musical instruments and having a convex base facing the interior of the instrument which prevents standing waves interfering with the air column, making the mute easier to play, and more in-tune across the entire instrument range. It is an object of the present invention to provide a mute that can be used with hom-type brass musical instruments. It is a further object of the present invention to provide a 29 04 25 simple, but effective, way of improving the playing response of a muted horn-type brass musical instrument, and which stops or reduces standing waves which can cause some notes to be difficult to play in tune. It is a further object of the present invention to provide a mute being dimensioned and shaped such that it is straightforward and intuitive 5 for the user to utilise it to produce an improved musical response. It is a further object of the present invention to provide a mute which enables the instrument to be played in tune across its full range. Summary Of The Invention 10 The present invention is described herein and in the claims. According to the present invention there is provided a mute for a horn-type brass musical instrument, comprising: an open-ended body having a first open end connectable to an air passage of an 15 instrument, side sections and a second end opposite to the first end, the body defining an inner volume; and a base formed at the second end of the body having a convex cross section between the side sections; wherein the body is faceted and formed from a series of connected planar panels 20 such that the base formed at the second end of the body is hexagonal, wherein the hexagonal base is formed from six congruent equilateral triangular planar panels which are raised at a centre point thereof, wherein the raised centre point faces the interior of the mute. 25 An advantage of the present invention is that it can be readily attached to horn-type brass musical instruments, and which provides a simple, but effective, way of improving the playing response of the instrument, and stops or reduces standing waves which can cause some notes to be difficult to play in tune. 30 Further preferably, the first and second ends have centre points that are co-axial along a centre axis. 29 04 25 In use, the body may be elongate having a longitudinal dimension between the first and second ends that is greater than the diameter of the base formed between the side sections. 5 Preferably, the body is a generally frusto-conical shape. In use, the planar panels may be triangular, square, rectangular, pentagonal, hexagonal, octagonal, or any suitable n-sided polygonal shape when in plan view from above. 10 In use, the convex base may stop or reduce standing waves reflecting back towards the first open end of the mute. In use, the mute further comprising one or more cork sections positioned on, or around, the outer surface of the body. 15 It is believed that an instrumental mute and its method of manufacture in accordance with the present invention at least addresses the problems outlined above. It will be obvious to those skilled in the art that variations of the present invention are 20 possible and it is intended that the present invention may be used other than as specifically described herein. Brief Description Of The Drawings The present invention will now be described by way of example only, and with reference 25 to the accompanying drawings, in which: Figures la and lb are sectional side plan and perspective views, respectively, of a mute in accordance with the present invention; Figures 2a to 2k show side plan views of a mute in accordance with the present invention for a variety of horn-type brass musical instruments; Figures 3a and 3b illustrate sectional side plan and perspective views, respectively, of a mute in accordance with a second embodiment of the invention, and which shows a mute having a smooth or continuous configuration; and Figure 4 is a sectional side plan view of a mute accordance with a third embodiment of the invention, and which shows a mute having an opening or vent in the base wall thereof. Detailed Description Of The Preferred Embodiments The present invention has adopted the approach of utilising a mute that can be used with horn-type brass musical instruments. Advantageously, the use of the mute of the present invention provides a simple, but effective, way of improving the playing response of a muted horn-type brass musical instrument, and which stops or reduces standing waves which can cause some notes to be difficult to play in tune. Further advantageously, the present invention also provides a mute being dimensioned and shaped such that it is straightforward and intuitive for the user to utilise it to produce an improved musical response. Further advantageously, the present invention also provides a mute which enables the instrument to be played in tune across its full range. Referring now to the drawings, a mute 10 according to the present invention is illustrated in Figures 1 to 3. Referring firstly to Figure 1 of the drawings, the mute 10 according to the present invention is insertable into the flared end (bell) of a brass musical instrument (not shown). The function of the mute 10 is to change the sound of the brass instrument in a certain way depending on the type of mute 10 used. Generally, a mute 10 for a brass instrument lowers the volume and alters the timbre (tonal quality) of the instrument. The mute 10 is formed of a synthetic plastics material, and defines an inner volume 12 which is open at one end only via opening 14. In the embodiment shown in Figure 1. The mute 10 is faceted meaning that it is formed from a series of connecting planar panels 16, which can be triangular-shaped. As perhaps best shown in Figure la, the dimension of the mute 10 is generally axially enlarged in diameter along the centre axis (indicated as line A to A ) from the opening 14 towards a base wall 18, which is at the furthest point away from the opening 14. The mute 10 tapers from the opening 14 and has a maximum diameter positioned away from the opening 14 of the mute 10 along the centre axis A to A', such that the mute 10 has a generally frusto-conical shape. Figure lb shows the downwardly tapering frusto-conical sidewall (formed from individual panels 16) is integrally continuous along its bottom edge with a hexagonal base wall 18, and along its top edge defines a regular dodecagon at the opening 14. The skilled person will understand that different-shaped planar panels 16 will produce different polygon openings 14 and base walls 18, and this is in no way intended to be limiting. When the mute 10 is snugly inserted into the bell of the instrument (not shown) it is gripped using one or more cork supports 20 (as best shown in Figure 2). Cork is preferred for its lightness, compressibility and acoustic-absorbing properties. The generally frusto-conical mute 10 defines a base wall 18 onto which the sound pressures of harmonic tones generated by a brass instrument are projected. Sound pressure is focussed onto the base panel 18. In the faceted version of the invention shown in Figures 1 and 2, the base wall 18 is formed from a number of base panels 22 and being configured in a hexagonal shape, and bounded by the shaded area B shown in Figure lb. The skilled person will understand that the base wall 18 is not flat. It has a convex shape which faces towards the bell of the instrument (not shown) towards the opening 14. In the embodiment of the invention best illustrated in Figure lb, the base wall 18 is formed from six congruent equilateral triangle base panels 22 which are raised at the centre point C thereof such that it approximates to a convex shape facing the interior of the instrument. Without wishing to be limited by a theoiy, it is understood that the sound pressure enters the open-ended mute 10 through the opening 14 and instead of standing waves being formed from a flat base wall and reflected back into the instrument which causes some notes to be difficult to play in tune, the convex-shaped base wall 18 stops or reduces standing waves inside the mute 10 and ensures an improved musical response when using such mute 10. Figure 2a shows the mute 10 of the present invention configured for use as a bass trombone straight mute 24. Figure 2b shows the mute 10 of the present invention configured for use as a bass trombone cup mute 26. Figure 2c shows the mute 10 of the present invention configured for use as a trombone straight mute 28. Figure 2d shows the mute 10 of the present invention configured for use as a trombone cup mute 30. Figure 2e shows the mute 10 of the present invention configured for use as a tenor horn straight mute 32. Figure 2f shows the mute 10 of the present invention configured for use as a tenor horn cup mute 34. Figure 2g shows the mute 10 of the present invention configured for use as a French horn straight mute 36. An optional wrist strap 38 may also be included. Figure 2h shows the mute 10 of the present invention configured for use as a Bb trumpet straight mute 40. Figure 2i shows the mute 10 of the present invention configured for use as a Bb trumpet cup mute 42. Figure 2j shows the mute 10 of the present invention configured for use as a Eb trumpet straight mute 44. Figure 2k shows the mute 10 of the present invention configured for use as a piccolo trumpet straight mute 46. Each of the mutes 10 shown in Figure 2 can also include indicia 48 that indicates the intended brass musical instrument for its use. Figure 3 shows a second embodiment of the mute 10. The construction of the second embodiment is very similar to that of the first embodiment and corresponding features have been given the same reference numerals. The second embodiment differs from the first embodiment in that instead of the mute 10 having a faceted structure, the mute 10 has a smooth or continuous appearance. In the second embodiment of the invention, the downwardly tapering frusto-conical sidewall 50 is integrally continuous along its bottom edge with a circular base wall 18, and along its top edge with a circular opening 14. The base wall 18 being convex-shaped. Figure 4 shows a third embodiment of the mute 10. The construction of the third embodiment is very similar to that of the first and second embodiments and corresponding features have been given the same reference numerals. The third embodiment differs from the first and second embodiments in that it depicts an alternative mute 10 which includes an opening or vent 52 in the base wall 18 which enables the air in the inner volume 12 of the mute 10 to escape. In the embodiment illustrated in Figure 4, the opening or vent 52 in the base wall 18 is connected to an entirely internal pipe or conduit 54 which has an opening 56 at the opposite end to the vent 52. In this way, the vent 52 in the base wall 18 keeps the sound volume contained (lowered), but enables the build-up of air pressure to be released, and further improving the playability of a muted instrument across its full range. In a preferred embodiment, the mute 10 is formed from a polymer such as High-Density Polyethylene (HDPE). Alternatively, the mute 10 can be formed from a polymer such as Polypropylene (PP), Low-Density Polyethylene (LDPE), Polyethylene Terephthalate (PET), Polyvinyl Chloride (PVC) or Acrylonitrile Butadiene Styrene (ABS) or blends thereof. Equally, the skilled person will appreciate that the mute 10 can be formed from any number of synthetic plastics or rubberised materials, such as a thermoplastic or thermoset material. The above list is no way intended to be limiting or exhaustive. The mute 10 may also be formed from a biobased polymer or a bioplastics material obtained from renewable biomass sources, such as, but not limited to, any of the following: vegetable fats and oils, corn starch, straw, woodchips, sawdust, recycled food waste and the like. The mute 10 can be manufactured using techniques such as injection moulding, blow moulding, vacuum forming, rotational moulding, compression moulding, rim moulding, powder impression moulding or any other form of plastics or rubber manufacture, as additive manufacturing or 3D printing. The skilled person will appreciate that different variations or densities of materials could also be provided. The mute 10 can be supplied in a number of different colours. The mute 10 may also contain silver ion technology. In order to diminish the risk of the build-up or transfer of germs or bacteria, an antimicrobial additive, such as silver ions, could be admixed with the polymer forming the mute 10. Impregnating the mute 10 with an antimicrobial additive will prevent against methicillin-resistant Staphylococcus aureus (MRSA), Escherichia coli (E. coli), Legionella, Salmonella, Campylobacter, Listeria and Pseudomonas. Such antimicrobial additives are also proven effective against a wide range of microbes including bacteria, mould and fungi, even multi-drug resistant bacteria and the H1N1 or Covid-19 virus. The above list is in no way intended to be limiting and exhaustive. In a preferred embodiment, the indicia 48 can be formed on the mute 10 by ensuring that the injection moulding tool includes a textured finish. The outer surface of the mute 10 is moulded with a smooth surface to safely receive the adhesive-backed cork 20 which aids engagement of the mute 10 inside the horn of the brass instrument (not shown). The skilled person will appreciate that the mute 10, and portions thereof, can also be supplied with any number of different textures and surface finishes for aesthetic reasons and / or to ensure a reliable grip of the mute 10 when in use. The construction of the mute 10, or parts thereof, can also be via any suitable form of metal fabrication, e.g., machined, pressed, cast or forged from a suitable metal, such as aluminium, brass, stainless-steel and combinations and alloys thereof. Therefore, the mute 10 according to the present invention provides a simple, but effective, way of improving the playing response of a muted horn-type brass musical instrument, and stops or reduces standing waves which can cause some notes to be difficult to play in tune. When used in this specification and claims, the terms “comprises” and “comprising” and variations thereof mean that the specified features, steps or integers are included. The terms are not to be interpreted to exclude the presence of other features, steps or components. The singular forms “a”, “an” and “the” are intended to include the plural forms as well, unless the context clearly indicates otherwise. It will be further understood that the terms “includes” and / or “including” when used herein, specify the presence of stated features, steps, operations, elements, and / or components, but do not preclude the presence or addition of one or more other features, steps, operations, elements, components, and / or groups thereof. The features disclosed in the foregoing description, or the following claims, or the accompanying drawings, expressed in their specific forms or in terms of a means for performing the disclosed function, or a method or process for attaining the disclosed result, as appropriate, separately, or in any combination of such features, can be utilised 5 for realising the invention in diverse forms thereof. The invention is not intended to be limited to the details of the embodiments described herein, which are described by way of example only. It will be understood that features described in relation to any particular embodiment can be featured in combination with 10 other embodiments. It is contemplated by the inventor that various substitutions, alterations and modifications may be made to the invention without departing from the spirit and scope of the invention as defined by the claims. 29 04 25

Claims

1. A mute for a horn-type brass musical instrument, comprising:5 an open-ended body having a first open end connectable to an air passage of aninstrument, side sections and a second end opposite to the first end, the body defining an inner volume; anda base formed at the second end of the body having a convex cross section between the side sections;10 wherein the body is faceted and formed from a series of connected planar panelssuch that the base formed at the second end of the body is hexagonal, wherein the hexagonal base is formed from six congruent equilateral triangular planar panels which are raised at a centre point thereof, wherein the raised centre point faces the interior of the mute.

152. The mute as claimed in claim 1, wherein the first and second ends have centre points that are co-axial along a centre axis.

3. The mute as claimed in any of claims 1 or 2, wherein the body is elongate having 20 a longitudinal dimension between the first and second ends that is greater than the diameter of the base formed between the side sections.

4. The mute as claimed in any of the preceding claims, wherein the body is a generally frusto-conical shape.

255. The mute as claimed in claim 1, wherein the planar panels are triangular, square, rectangular, pentagonal, hexagonal, octagonal, or any suitable n-sided polygonal shape when in plan view from above.30 6. The mute as claimed in any of the preceding claims, wherein the convex basestops or reduces standing waves reflecting back towards the first open end of the mute.

7. The mute as claimed in any of the preceding claims, further comprising one or more cork sections positioned on, or around, the outer surface of the body.

Images