Headless acoustic violin

Abstract

The invention relates to a headless acoustic violin (100) that does not have a scroll and wooden tuning peg system in the head section, featuring a body (102) form including a chinrest (105) and shoulder rest (106) to prevent vibration damping, and sound holes (109) that enhance sound quality. Although the headless acoustic violin (100) operates according to the same acoustic physical principles as a standard violin, it differs from the traditional violin form by lacking the "C" bouts. Said headless acoustic violin (100) is designed with a more minimalist form considering new composite manufacturing technologies.

Description

[0001] HEADLESS ACOUSTIC VIOLIN

[0002] Technical Field

[0003] The invention relates to a headless acoustic violin that lacks the scroll and traditional wooden tuning peg system found in the head section. It features a body design that includes a chin rest and shoulder rest to avoid dampening the sound vibrations, and its sound holes contribute to improved sound quality.

[0004] State of the Art

[0005] The violin is a four-stringed, stringed musical instrument widely used in Western classical music, Turkish music, Indian music and many other cultures. The strings are typically tuned to G, D, A, and E. A standard violin consists of main components such as the body, neck, fingerboard, bridge, chin rest, tailpiece, and tuning pegs. The bow is a wooden stick strung with horsehair or synthetic hair, and sound is produced by the friction between the bow hair and the strings.

[0006] The type of wood used in violin construction directly affects sound quality. Maple is commonly used for the body and sides, spruce for the top plate, and ebony for the fingerboard. Maple, ebony, or rosewood may be used for other parts. Once the wood for construction is selected, it is carefully carved and hollowed to shape the top plate of the violin. Then, f-holes are cut into the top plate to allow sound projection. The back plate is carved into an arched shape, while the ribs (sides) are bent and shaped by steaming and heating. Subsequently, the top plate, ribs, and back plate are glued together using strong wood adhesive. A sound post and bass bar are installed inside the body to enhance acoustic performance. While shaping the neck, the fingerboard section is carefully and ergonomically carved. The fingerboard is shaped to match the neck and is firmly glued onto it. The bridge, cut to the appropriate height and curvature for the violin’s body, is precisely positioned to ensure the strings are held at the correct height and angle. After the tailpiece and chin rest are mounted to the back of the violin, a varnish is applied to both enhance aesthetic appearance and improve sound quality. Following the adjustment of the bridge and the sound post, and the tuning of the strings, the violin becomes ready to play.

[0007] Today’s violins still retain a standard scroll and pegbox structure, traditionally made using woodcraft techniques. Because the violin has a conventional form and traditional construction methods, it has remained largely unchanged in design up to the present day. However, this traditional design adds unnecessary weight to the instrument, and the wooden pegs, which wear out over time, frequently require replacement or restoration. Moreover, in current violins, the tailpiece and tailgut are subjected to high tension, which leads to significant problems in both acoustic performance and structural durability.

[0008] To date, there has been no substantial rethinking of the fundamental design of string instruments — including the violin. While some attempts have been made to simplify string tension adjustments, or to reduce the pressure exerted on the player’s hand and wrist during play, all modem redesigns have preserved the traditional head (scroll and peg) structure. As a result, the need for a headless acoustic violin that eliminates the disadvantages of the existing technique — and the insufficiency of current solutions — has made it necessary to introduce innovation in this technical field.

[0009] Brief Description of the Invention

[0010] The present invention relates to a headless acoustic violin that meets the above- mentioned needs, eliminates all existing disadvantages, and introduces additional advantages. This violin lacks the scroll and traditional wooden tuning peg system in the head section and features a body form that includes a chin rest and shoulder rest, designed to avoid damping the vibration of sound. Its sound holes contribute to enhanced sound quality.

[0011] Based on the state of the art, the aim of the invention is to offer a lighter and more ergonomic product compared to traditional designs, with improved resonance, tone, and acoustic characteristics, through the development of a headless acoustic violin. Another aim of the invention is to eliminate common issues such as excessive weight, peg wear, and tuning instability, by removing the scroll and traditional wooden tuning peg system from the head section of the acoustic violin.

[0012] An additional aim of the invention is to enhance the sound quality of the violin through a newly designed acoustic body shape and the inclusion of sound holes.

[0013] A further aim is to enable more efficient and rational use of materials by omitting the head section in the acoustic violin.

[0014] Another aim of the invention is to increase strength by placing reinforcement strips, which are found on the violin’s purfling, on the inside rather than on the outer surface, thereby achieving a minimalist form and surface.

[0015] A further aim is to eliminate the issue of sound damping caused by the chin rest and shoulder rest being mounted directly onto the violin body in conventional designs. In the invention, the chin rest and pad system do not contact the body, thereby preserving sound vibration.

[0016] Another aim of the invention is to prevent sound congestion and achieve greater sound projection by designing the sound holes to be larger and more voluminous.

[0017] Another aim of the invention is to improve playability, especially in higher positions, by shaping the neck heel, where it joins the body, in a concave form to allow performers easier access to upper positions, resulting in a more comfortable playing experience compared to traditional violins.

[0018] One aim of the invention is to enhance resonance compared to conventional violins and thereby increase sound sustain, through a tailpiece system connected by four separate titanium tubes positioned in the lower block section of the body.

[0019] Another aim of the invention is to reduce overall weight and achieve a natural tone and resonance compatible with the wooden structure, by employing titanium tubes in the connection between the body and the tailpiece system. Another aim of the invention is to provide visual aesthetics by routing the strings through slender tubes.

[0020] Another aim of the invention is to prevent string breakage by means of a composite graphite component positioned on the upper part of the bridge.

[0021] Another aim of the invention is to improve resonance by mounting each tube corresponding to a different string individually to the body.

[0022] Another aim of the invention is to increase sound sustain by using four independent nut systems, each individually placed on the fingerboard for each string.

[0023] The structural and characteristic features and all the advantages of the invention will be understood more clearly by means of the figures given below and the detailed description written with references to these figures, and therefore the evaluation should be made by taking these figures and the detailed explanation into consideration.

[0024] Brief Description of the Drawings

[0025] In order to for the embodiment of the present invention and its advantages with additional elements to be understood in the best way, it should be evaluated together with the figures described below.

[0026] Figure 1 is a schematic front view of the headless acoustic violin.

[0027] Figure 2 is a schematic side view of the headless acoustic violin.

[0028] Reference Numbers

[0029] 100. Headless acoustic violin

[0030] 101. Neck

[0031] 102. Body

[0032] 103. String mounting apparatus

[0033] 104. String tuning peg

[0034] 105. Chinrest 106. Shoulder rest

[0035] 107. Neck heel

[0036] 108. Bridge

[0037] 109. Sound holes

[0038] 110. Individual upper nuts

[0039] Detailed Description of the Invention

[0040] In this detailed description, the invention is presented by way of example only, without any limiting effect, as a headless acoustic violin (100) which does not include a scroll or a traditional wooden tuning peg system in the head section, and features a body (102) equipped with a chinrest (105) and shoulder rest (106) to avoid obstructing the vibration of sound. The sound quality is enhanced by the form of the body (102) and the inclusion of sound holes (109).

[0041] The headless acoustic violin (100) shown in Figure 1 , although operating according to the same acoustic and physical principles as a standard violin, differs from the conventional violin form in that it does not include "C" bouts. Said headless acoustic violin (100) has been designed in a more minimalist form, taking into consideration new composite manufacturing technologies. To achieve a lighter, more resonant, and more ergonomic structure, said headless acoustic violin (100) does not include a scroll or traditional wooden tuning peg system in the head section. The headless acoustic violin

[0042] (100) includes a body (102), to which all components are mounted, and which does not feature "C" bouts. This design reduces weight and prevents the dissipation and damping of resonance and sound within the acoustic chamber by structural blocks. A chinrest (105) is connected to the rear portion of the body (102), where it rests on the player’s shoulder, in such a way that it does not contact the body (102), thereby preserving the resonance of the body (102). A neck (101 ) that does not include a scroll or pegbox is connected to the front part of the body (102) to achieve a lighter and more ergonomic structure. To enhance sound sustain, each string is routed through a separate, independent individual upper nut (110), each positioned separately at the far end of the fingerboard on the neck (101 ). In order to attach the strings to the neck

[0043] (101 ), a tuning peg (104) is located in the lower block section of the body (102). This configuration improves the resonance of the body (102) compared to conventional violins and thereby enhances sound continuity. On the lateral sides of said body (102), instead of traditional f-shaped sound holes, D-shaped sound holes (109) are positioned along the sides of the top plate. These are designed to prevent sound waves entering and exiting the body (102) from colliding with one another, thereby improving sound projection and diffusion, and ultimately resulting in a fuller and louder sound output.

[0044] In the headless acoustic violin (100) shown in Figure 2, the strings pass over a bridge (108) positioned near the center of the body (102), in order to enhance resonance. At the rear portion of the body (102), a shoulder rest (106) is positioned in such a way that it does not come into contact with the body (102), in order to prevent damping of the body’s (102) resonance. To allow the performer easier access to higher positions and provide a more comfortable playing experience compared to conventional violins, a neck heel (107) is located at the lower junction where the neck (101 ) meets the body (102). Said neck heel (107) is designed with a concave form. At the distal end of the neck (101 ), away from the body (102), a rear-side string mounting apparatus (103) is connected to secure the strings to the neck (101 ).

[0045] One of the most significant differences between the headless acoustic violin (100) and violins in the prior art lies in the novel acoustic body form (102) and the newly designed sound holes (109), which enhance sound quality. The sound holes (109) are left wide and voluminous to prevent sound compression and to achieve better sound projection. In the headless acoustic violin (100), the chinrest (105) and shoulder rest (106) are of standard dimensions and are integrally mounted to the body (102) in such a way that they do not come into contact with the acoustic chamber. The headless acoustic violin

[0046] (100) is compatible with all standard violin strings. For the back plate, ribs, and neck

[0047] (101 ), traditionally figured maple wood is used for aesthetic purposes. In this way, the warm texture of tradition has been combined with a new design approach. Linings, referred to as reinforcement strips, have been placed on the interior of the body (102) rather than on the outer surface, in order to increase the structural strength of the material.

[0048] Another significant difference between the headless acoustic violin (100) and violins in the prior art is that the chinrest (105) and shoulder rest (106) are mounted in such a way that they do not come into contact with the body (102), thereby eliminating the problem of significant sound damping. Said chinrest (105) and shoulder rest (106) are optionally left transparent for visual aesthetics. As materials, lightweight, durable, and transparent composite materials such as polycarbonate have been preferred.

[0049] Another important distinction of the headless acoustic violin (100) from prior art violins is that each string is mounted independently to the body (102) via separate individual upper nuts (110), in order to achieve better resonance. At the head end of the neck (101 ), each string passes through a titanium individual upper nut (110) and is then routed into the rear-side string mounting apparatus (103).

[0050] In the headless acoustic violin (100), visual aesthetics are also achieved by passing each string through thin tubes, with each string having its own tuning peg (104) and individual upper nut (110).

[0051] A composite graphite element is positioned on the upper side of the bridge (108) to prevent string breakage.

[0052] In a preferred embodiment of the invention, titanium tubes are used in the connection between the body (102) and the tuning pegs (104) to reduce weight and to achieve a natural tone and resonance compatible with wood.

[0053] In another preferred embodiment of the invention, the design of the headless acoustic violin (100) is also applied to other members of the violin family, such as viola, cello, and double bass. Additionally, this design can be adapted to other instruments such as guitar, bass guitar, oud, rebab, and kemencha.

Claims

CLAIMS1. Headless acoustic violin (100) without a scroll and traditional wooden tuning peg system in the head section, comprising- a body (102) without “C” bouts, onto which all components are mounted, designed to reduce weight and to prevent the dispersion and damping of resonance / sound within the acoustic chamber by structural blocks;- a neck (101 ) at the front part of the body (102), designed without a scroll shape or tuning peg box to achieve a lighter and more ergonomic structure;- a tuning peg (104) positioned in the lower block section of the body (102) to connect the strings to the neck (101 ), enabling better resonance of the body (102) compared to conventional violins, thus increasing sound sustain;- sound holes (109) located on the lateral sides of the body (102), designed to prevent sound waves entering and exiting the body (102) from colliding with each other, thereby enhancing sound projection and diffusion, resulting in a fuller and louder sound;- a bridge (108) positioned near the middle section of the body (102), over which the strings pass to enhance resonance, with a composite graphite piece placed on its upper part to prevent string breakage; and- a string mounting apparatus (103) connected behind the head end of the neck (101 ) to secure the strings to the neck (101 ).

2. Headless acoustic violin (100) according to claim 1 , comprising a chinrest (105) attached to the rear part of the body (102), which rests against the player’s shoulder, mounted so as not to contact the body (102) in order to prevent disruption of the body’s resonance.

3. Headless acoustic violin (100) according to claim 1 , comprising a shoulder rest (106) positioned at the rear side of the body (102), mounted so as not to contact the body (102) in order to prevent damping of the body’s resonance.

4. Headless acoustic violin (100) according to claims 2 and 3, wherein the chinrest (105) and shoulder rest (106) are integrally mounted to the body (102).

5. Headless acoustic violin (100) according to claims 2 and 3, wherein the chinrest (105) and shoulder rest (106) are made of transparent composite material.

6. Headless acoustic violin (100) according to claim 1 , comprising individual upper nut (110), each allowing a string to pass through, independently positioned on the fingerboard at the distal end of the neck (101 ) to increase sustain.

7. Headless acoustic violin (100) according to claim 6, wherein individual upper nut (110) is made of titanium material.

8. Headless acoustic violin (100) according to claim 1 , comprising a neck heel (107) positioned at the lower end of the neck (101 ) where it joins the body (102), to enable the player easier access to the higher positions and provide more comfortable play compared to conventional violins.

9. Headless acoustic violin (100) according to claim 8, wherein the neck heel (107) is concave in shape.

10. Headless acoustic violin (100) according to claim 1 , comprising reinforcement strips internally positioned within the body (102) to reinforce the material.

11. Headless acoustic violin (100) according to claim 1 , comprising a titanium tube used in the connection between the body (102) and the string tuning peg (104) to reduce weight and achieve a natural tone and resonance compatible with wood.

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