bowed string instruments

Abstract

To provide a bowed string instrument having a structure that can further improve acoustic characteristics. [Solution] The bowed string instrument (1) comprises a body (2) having a top plate (21), a back plate (22), and side plates, and having an instrument center line (A) which is the center line of the left-right width, and a neck body (8) having a neck portion, the neck portion having a neck whose base is fixed to the body, and a fingerboard (4) provided on the top side of the neck, the top plate having an arch (E) whose apex is offset in an offset direction either to the right or left from the instrument center line, and the back plate having an arch whose apex is offset in the offset direction from the instrument center line.

Description

[Technical Field]

[0001] The present invention relates to stringed instruments, and more particularly to the acoustic structure of bowed stringed instruments. [Background technology]

[0002] Stringed instruments include bowed string instruments such as violins, which have a body with a body and a neck, to which strings, a bridge, pegs, etc. are attached (see, for example, Patent Document 1). The acoustic characteristics of bowed string instruments (volume, tone, overtones, sustain, etc.) are formed when the vibrations of the strings are transmitted to the body via the bridge and amplified by the resonating structures of the body, such as the top, back, and sides.

[0003] Historical masterpieces such as Stradivarius are made possible through superior manufacturing techniques, materials, and design concepts that go beyond the simple vibration of the wood to achieve a three-dimensional vibration mode in which the entire body resonates harmoniously, creating a rich tone that is both deep and transparent. [Prior art documents] [Patent documents]

[0004] [Patent Document 1] Japanese Patent Application Laid-Open No. 2005-326703 Summary of the Invention [Problem to be solved by the invention]

[0005] These traditional masterpieces have been studied and passed down by many makers and performers, and are still highly valued today. However, by adding additional innovations to the conventional structure, further improvements in acoustic characteristics can be expected. For example, conventional bodies and necks are all symmetrical about the center line, and the arched ridge of the body is also formed along the center line. With this structure, stress from vibrations is concentrated on the center line, which may result in insufficient resonance in the body.

[0006] The object of the present invention is to provide a bowed string instrument having a structure that can further improve acoustic characteristics while paying respect to conventional structures. [Means for solving the problem]

[0007] In order to solve the above-mentioned problems, one aspect of the present invention provides a bowed string instrument, comprising: a body having a top plate, a back plate, and side plates, and having an instrument center line that is the center line of the left-to-right width; and a neck body having a neck portion, the neck portion having a neck whose base is fixed to the body, and a fingerboard provided on the top side of the neck, the top plate having an arch whose apex is offset in an offset direction that is either to the right or left from the instrument center line, and the back plate having an arch whose apex is offset in the offset direction from the instrument center line.

[0008] The ridge line of the arch of each of the front plate and the back plate may be curved having, from top to bottom, a first curve convex in the offset direction, a second curve convex in the opposite direction to the offset direction, and a third curve convex in the offset direction.

[0009] The neck body may include a peg box connected to the upper end of the neck, a scroll connected to the upper end of the peg box and having a center of mass located on the instrument center line, and a weight provided on the back side of the neck below the peg box and offset from the instrument center line in the offset direction.

[0010] The neck centerline, which is the centerline of the left-right width of the neck, may be eccentric from the instrument centerline in the offset direction.

[0011] The intersection of the neck center line and the instrument center line may be set at a position on the body where a bridge is to be installed.

[0012] The peg box portion of the neck body, which has a peg box and a scroll, may have a peg box portion center line, which is the center line of the left-right width, that is eccentric in the offset direction from the instrument center line.

[0013] The scroll of the neck body may be inclined in a direction opposite to the inclination direction of the neck portion. [Effects of the Invention]

[0014] According to the present invention, it is possible to provide a bowed string instrument having a structure that can further improve acoustic characteristics.

[0015] Problems, configurations, and effects other than those described above will become apparent from the following description of the embodiments. [Brief explanation of the drawings]

[0016] [Figure 1] FIG. 1 is an external view illustrating an example of a bowed string instrument according to an embodiment. [Figure 2] FIG. 1 is an external view illustrating an example of a bowed string instrument according to an embodiment. [Figure 3] FIG. 10 is a diagram for explaining the arch of the fuselage. [Figure 4] FIG. 1 is a diagram illustrating the arch of the fuselage. [Figure 5] FIG. 1 is a diagram illustrating the arch of the fuselage. [Figure 6] FIG. 10 is a diagram for explaining the offset distance of the fuselage arch. [Figure 7] FIG. 10 is an external view showing an example of a neck body. [Figure 8] FIG. 10 is an external view showing an example of a neck body. [Figure 9] FIG. 10 is a diagram for explaining the eccentric angle of the center line of the neck portion. [Figure 10] FIG. 10 is a diagram for explaining conical axis rotation in the neck body. DETAILED DESCRIPTION OF THE INVENTION

[0017] Hereinafter, examples of embodiments of the present invention will be described with reference to the drawings. Note that components common to the following embodiments will be designated by the same reference numerals as those previously mentioned, and their description may be omitted. Furthermore, when referring to the shape, positional relationship, etc. of components, etc., it is understood that the reference numerals also include those that are substantially similar or similar to the shapes, etc., unless otherwise specified or clearly considered otherwise in principle.

[0018] This invention relates to bowed string instruments, particularly their acoustic structure, and concerns technology for improving acoustic characteristics, such as volume, tone, overtones, and sustain, by incorporating new innovations into the structure of either or both of the body and neck. This invention attempts a new approach from the perspectives of acoustic engineering and material mechanics, and aims to further improve expressiveness and playability by adding supplementary innovations to the conventional structure.

[0019] 1 and 2 are external views showing an example of a bowed string instrument according to one embodiment, with Fig. 1(a) being a front view, Fig. 1(b) being a right side view, Fig. 2(a) being a rear view, and Fig. 2(b) being a left side view. In the figures, Y indicates the vertical direction (up-down direction) (-Y is downward, +Y is upward), X indicates the left-right direction perpendicular to Y (-X is left, +X is right), and Z indicates the depth direction (front-rear direction) perpendicular to X and Y (-Z is front direction, +Z is back direction) (the same applies to the following figures).

[0020] In this embodiment, a violin is illustrated and described as a suitable example of the bowed string instrument 1, but the present invention can also be applied to other bowed string instruments such as a viola, a cello, and a double bass.

[0021] The bowed string instrument 1 includes a body 2 and a neck body 8 having a neck portion. The neck portion of the neck body 8 has a neck 3, the base portion 31 of which is fixed to the body 2, and a fingerboard 4 provided on the top side of the neck 3. The bowed string instrument 1 has attachment components such as strings, a bridge, tuning pegs, a tailpiece, and an endpin attached (installed) to the main body including the body 2 and neck body 8. These attachment components will be described by referring to known art as appropriate, and illustrations and detailed descriptions thereof will be omitted in this application.

[0022] The bowed string instrument 1 of this embodiment is configured as a violin with improved acoustic characteristics that utilizes torsional vibration in particular, and one or both of the body 2 and the neck 8 have a novel vibration structure. First, the body 2 will be described below.

[0023] The body 2 has an instrument center line A (shown by a dashed line) which is the center line of its left-right width. The body 2 comprises a top plate 21, a back plate 22, and side plates 23. The body 2 has a shape in which the top plate 21 and back plate 22 have a bulge (arch). While conventional arch structures are symmetrical about the center line A, the body 2 has an asymmetrical arch structure.

[0024] Figures 3 to 6 are diagrams for explaining the arch of the fuselage. Figure 3(a) shows the arch of the top plate, and Figure 3(b) shows the arch of the back plate, with thin lines added, as a perspective view observed from the bottom end side (endpin side). Figure 4 is a diagram explaining the arch in Figure 1, and Figure 5 is a diagram explaining the arch in Figure 2 with thin lines added. Figure 6 is a diagram explaining the offset distance (width) of the arch.

[0025] The top plate 21 of the body 2 has an arch E in which the apex, which is the highest part of the ridge line M, is offset in an offset direction that is either to the right or to the left from the center line A of the instrument. As an example, as shown in FIG. 3( a), the apex of the arch E of the top plate 21 is offset to the right from the center line A of the instrument. More preferably, as shown in the figure, the entire ridge line M of the top plate 21 is offset to the right from the center line A of the instrument. Although not shown, the top plate 21 may have the apex of the arch E offset to the left from the center line A of the instrument, or even the entire ridge line M offset to the left from the center line A of the instrument.

[0026] The back plate 22 of the body 2 has an arch F in which the apex, which is the highest part of the ridge line N, is offset from the instrument center line A in the same direction as the offset direction of the arch E of the top plate 21. As an example, as shown in FIG. 3(b), the apex of the arch F of the back plate 22 is offset to the right from the instrument center line A. More preferably, as shown in the figure, the entire ridge line N of the back plate 22 is offset to the right from the instrument center line A. Although not shown, the back plate 22 may have the apex of the arch F offset to the left from the instrument center line A, or even have the entire ridge line N offset to the left from the instrument center line A.

[0027] The body 2, with its arch structure, induces torsional vibration through the following process: By forming an asymmetric arch structure by shifting the apex of the arch of the top plate 21 and the back plate 22 to the right or left relative to the center line A of the instrument, stress is concentrated at the offset apex of the arch due to the vertical bending vibration of the neck caused by the tension of the strings and bowing during playing. Here, bending vibration refers to the up and down movement of the neck when viewed from the side.

[0028] This creates a difference in the vibration stroke width between the right and left ends of the neck block. For example, if the apex of the arch is shifted to the right as shown in the figure, the vibration stroke width at the right end of the neck block will be larger. This difference in vibration stroke causes torsional vibration in the neck, which is transmitted to the entire body. Here, torsional vibration refers to rotation in a direction that intersects with the up-and-down movement, mainly to the left and right (rotation like a conical axis).

[0029] This process is based on the physical background of string tension (approximately 40 kgf) being applied from the tuning machine box toward the endpin and then transmitted to the top and back via the neck block and end block. In other words, periodic fluctuations in string tension caused by bowing generate time-varying compressive stress throughout the neck block. The offset arch apex concentrates stress asymmetrically, resulting in differences in vibration stroke width at the left and right ends of the neck block. This difference induces torsional motion in the neck and introduces new vibration modes into the body. This prevents stress concentration (which occurs with conventional centerline designs, where the top and back become too stiff at the point of maximum bending vibration) and enhances resonance throughout the body.

[0030] This structure also produces a high-frequency emphasis effect through torsional resonance within the body. Torsional vibrations introduced through the neck spread throughout the body, causing elastic deformation and cyclical tension and relaxation in the top, back, and sides. This promotes resonance in the high-frequency range, enhancing the quality and density of overtones and resulting in a clear, transparent tone.

[0031] The arch ridgelines of the top panel 21 and back panel 22 are preferably curved, having, from top to bottom, a first curve convex in the offset direction, a second curve convex in the opposite direction to the offset direction, and a third curve convex in the offset direction. In the illustrated example, the ridgeline M of the arch E of the top panel 21 is curved, having, from top to bottom, a first curve M1 convex to the right, a second curve M2 convex to the left, and a third curve M3 convex to the right, as shown in FIG. 4. The ridgeline N of the arch F of the back panel 22 is curved, having, from top to bottom, a first curve N1 convex to the right, a second curve N2 convex to the left, and a third curve N3 convex to the right, as shown in FIG. 5. The top panel 21 has an arch contour line e as shown in FIG. 4, and the back panel 22 has an arch contour line f as shown in FIG. 5.

[0032] The body 2, in this way, forms the ridge lines of the arches of the front plate 21 and the back plate 22 with three curves, so that the energy circulation and overtone enhancement effect due to the asymmetric arch structure can be obtained. That is, the first curve (tensile region) convex in the offset direction initially absorbs the vibration energy and transmits it to the body. The second curve (compression region) convex in the direction opposite to the offset direction receives the stress in the compression direction, accumulates energy, and releases it as tensile stress. The third curve (tensile region) convex in the offset direction diffuses the released energy throughout the body and enhances the resonance. With this arch structure, an energy circulation of compression and tension is generated, realizing the enhancement of overtones and the improvement of sustain.

[0033] The arches of the front plate 21 and the back plate 22 have an offset distance (width) with respect to the center line A that is proportional to the left - right width of the body 2. As shown in FIG. 6, taking the front plate 21 as an example, the offset distance D from the instrument center line A of the ridge line M of the arch E is preferably 1 / 4 or less (0 < D / L ≤ 0.25) of half of the left - right width of the body (half - body width L), for example, about 1 / 8 (D / L = 0.125). The offset distance from the instrument center line A of the ridge line N of the arch F of the back plate 22 is also preferably set similarly.

[0034] Note that the same materials as those in the prior art are used for the body 2, for example, wood and the like are used.

[0035] FIGS. 7 to 10 are diagrams for explaining the neck body. FIGS. 7 and 8 are external views of the neck body. FIG. 7(a) is a front view, FIG. 7(b) is a right - side view, FIG. 8(a) is a rear view, and FIG. 8(b) is a left - side view. FIG. 9 is a diagram for explaining the eccentricity angle of the neck portion center line. FIG. 10 is a diagram for explaining the conical - axis rotation in the neck body.

[0036] 7 and 8, the neck body 8 comprises a neck section having the neck 3 and fingerboard 4, and a pegbox section having the pegbox 5 and scroll 6. The pegbox 5 is a section that connects to the upper end of the neck 3, and the scroll 6 is a section that connects to the upper end of the pegbox 5. The neck body 8 is fixed to the body 2 at the base 31 of the neck 3. The neck body 8 is made of the same materials as conventional materials used for the neck 3, fingerboard 4, pegbox 5, scroll 6, etc., such as wood.

[0037] While conventional neck bodies have a structure symmetrical about the center line A, the neck body 8 of this embodiment is preferably configured asymmetrical and includes one or both of a rotation assist mechanism and an eccentric structure.

[0038] The rotation assist mechanism generates a torsional moment in the neck portion by controlling the center of gravity of the scroll 6 and the weight 7 below the peg box 5. Specifically, the neck body 8 is provided with a weight 7 (indicated by hatched lines in each drawing) that is offset from the center line A of the instrument, with the center of mass of the scroll 6 located on the center line A of the instrument. The weight 7 is located on the back side of the neck 3 below the peg box 5, offset from the center line A of the instrument in the offset direction of the arch E of the top board 21 (to the right in the illustrated example), i.e., with its center position G offset in the offset direction as shown in FIG. 8(a). The weight 7 is made of wood or the like that has a higher specific gravity than the neck 3, peg box 5, etc.

[0039] In this embodiment of the bowed string instrument 1, the mass of the scroll 6 is positioned on the instrument's center line A, enhancing the inertial stability of the rotational vibration. At the same time, a protruding weight 7 offset to the right or left from the instrument's center line A is installed below the peg box 5 to generate a torsional moment (torque) in the neck. This assists the torsional motion of the neck, synchronizing it with the torsional vibration of the body and enhancing resonance efficiency.

[0040] The neck body 8 preferably has an eccentric structure that induces a conical rotational motion in the neck portion. As shown in Figures 7 and 8, the neck portion has an eccentric structure in which the neck centerline B1 (shown by a dashed line), which is the centerline of the left-right width, is eccentric from the instrument centerline A in the same direction as the offset direction of the arch E of the top plate 21 (to the right in the illustrated example).

[0041] More specifically, as shown in FIG. 9, the angle θ of the neck centerline B1 relative to the instrument centerline A is preferably 3 degrees or less (0<θ≦3°), for example, 1 degree or less (0<θ≦1°).

[0042] As shown in Figure 9, the intersection J of the neck centerline B1 and the instrument centerline A is preferably located at the bridge position (bridge position line I shown by the dashed line) on the body 2. In other words, in the illustrated example, the angle θ is the rotation angle around the bridge position nodal point as the center of a circle.

[0043] The neck body 8 preferably also has an eccentric pegbox portion. As shown in FIGS. 7 and 8, the pegbox portion centerline B2, which is the centerline of the left-right width of the pegbox portion, is eccentric from the instrument centerline A in the offset direction of the arch E of the top plate 21 (to the right in the illustrated example). Specifically, the intersection of the pegbox portion centerline B2 and the instrument centerline A is located at the center of the tip of the scroll 6, and the intersection of the upper end of the neck portion centerline B1 and the lower end of the pegbox portion centerline B2 coincides near the boundary between the neck and pegbox portions. In other words, in the illustrated example, the neck body centerline B, which includes the neck portion centerline B1 and the pegbox portion centerline B2, is eccentric from the instrument centerline A in the offset direction.

[0044] In this example, the center of the tip of the scroll 6 is on the center line A of the instrument, and is inclined in the opposite direction to the inclination of the neck portion, which provides a further aesthetic effect.

[0045] The neck body 8 induces a conical rotational motion in the neck section by eccentrically positioning the neck body centerline B to the right or left from the instrument centerline A. As shown in Figure 10, this rotational range is a conical rotational range C (shown by thin diagonal lines) with the instrument centerline A as the rotational center axis and the neck body centerline B (neck centerline B1 and pegbox centerline B2) as the end line.

[0046] Furthermore, by positioning the bridge at the intersection of the neck body center line B and the instrument center line A, the bridge's lateral vibration is suppressed, resulting in a structure that limits bridge displacement. In this way, the neck generates a conical rotational mode (torsional vibration), and while the bridge functions as a node of the torsional vibration, bridge displacement is suppressed, improving bowing stability during performance.

[0047] The structure of the bowed string instrument 1 of this embodiment provides the following acoustic effects (actions). (1) The vibration energy of the strings is efficiently transmitted to the body, improving the volume. (2) The torsional vibration of the body promotes high-frequency resonance, adding transparency and sharpness (clarity) to the tone. (3) The asymmetrical arch structure and energy circulation enrich the harmonic components, creating depth and a three-dimensional feel. (4) The alternating action of compression and tension sustains vibration, improving sustain and producing a rich, long-lasting sound. (5) By adjusting the center of gravity using the scroll and weights below the pegbox, the torsional movement of the neck is stabilized, maximizing resonance performance. (6) The eccentric neck structure and the bridge's design, which serves as a nodal point for torsional vibration, prevent the bridge from shifting position during playing, improving bowing stability.

[0048] This invention is easily adapted to the framework of conventional violin-making techniques and materials, and can be introduced without compromising the traditional appearance or playability. By setting the offset direction of the arch to the right or left, flexible design is possible according to the maker's intentions and acoustic characteristics preferences, making it a complementary and flexibly applicable structure for makers and researchers who want to explore new acoustic characteristics while respecting classical violin-making methods.

[0049] This invention respects the tradition-based musical instrument culture, while presenting new possibilities for design concepts, and will serve as a reference for instrument manufacturing and acoustic research, while also contributing to the creation of high-value-added products that meet the diverse acoustic needs of performers.

[0050] Although the embodiments of the present invention have been described above, these are merely examples of the present invention, and the present invention is not limited to these. The present invention includes combinations of the above embodiments and examples, as well as various modifications. Various additions, modifications, and partial deletions are possible within the scope of the conceptual idea and spirit of the present invention, which is derived from the content defined in the claims and their equivalents. [Explanation of symbols]

[0051] 1...bowed string instrument, 2...body, 21...top, 22...back, 23...side, 3...neck, 31...base, 4...fingerboard, 5...tuner box, 6...scroll, 7...weight, 8...neck body, A...center line of instrument, B...center line of neck body, B1...center line of neck, B2...center line of tuning peg box, C...conical rotation range, D...offset distance, E...arch, F...arch, G...center position, I...bridge position line, J...intersection, L...half width of body, M...ridge, N...ridge, θ...angle.

Claims

1. a body having a top plate, a back plate, and side plates, and having a center line of the instrument that is the center line of the left-right width; a neck body having a neck portion, The neck portion includes a neck whose base is fixed to the body and a fingerboard provided on the top side of the neck, the top plate has an arch whose apex is offset in an offset direction that is either to the right or to the left from the center line of the instrument, The back plate has an arch whose apex is offset from the center line of the instrument in the offset direction. A bowed string instrument characterized by

2. The ridge line of the arch of each of the front plate and the back plate is curved and has, in order from above, a first curve convex in the offset direction, a second curve convex in the direction opposite to the offset direction, and a third curve convex in the offset direction.

2. The bowed string instrument according to claim 1 .

3. The neck body is a peg box connected to the upper end of the neck; a scroll connected to the upper end of the peg box and having a center of mass located on the center line of the musical instrument; a weight provided on the back side of the neck below the peg box and offset from the instrument center line in the offset direction.

3. The bowed string instrument according to claim 1 or 2.

4. The neck centerline, which is the centerline of the left-right width of the neck, is eccentric in the offset direction from the instrument centerline.

3. The bowed string instrument according to claim 1 or 2.

5. The intersection of the neck center line and the instrument center line is set at the position of the body where the bridge will be set.

5. The bowed string instrument according to claim 4.

6. The pegbox portion of the neck body, which has a pegbox and a scroll, has a pegbox portion centerline, which is the centerline of the left-right width, that is eccentric in the offset direction from the centerline of the instrument.

5. The bowed string instrument according to claim 4.

7. The scroll of the neck body is inclined in the direction opposite to the inclination direction of the neck portion.

5. The bowed string instrument according to claim 4.

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