Musical string

Abstract

The invention relates to a musical string (1) for a string instrument (6) having a specified scale length (7), in particular a string instrument (6) of the violin family, having a supporting string core (2), the musical string (1) comprising a first end (5) for fastening to a tailpiece (8) of the string instrument (6). According to the invention, the musical string (1) has a first winding layer (9) in a region which adjoins the first end (5) and the region length (29) of which is between 3% and 40% of the scale length (7), and the winding layer length (10) of the first winding layer (9) is between 3% and 40% of the scale length (7).

Description

[0001] musical string

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

[0003] String instruments, especially those of the violin family, are central musical instruments in an orchestra and are also widespread in all genres of music worldwide. Some string instruments exhibit an acoustic problem that affects, or can affect, the playability of the instrument in question, and this problem is known as wolf or wolf tone.

[0004] Due to the wolf tone, a relatively narrow frequency range is used (for the violin, usually in the range between approximately 500 and 600 Hz, or essentially between h 1 - d 2) difficult to play. The affected instrument is unable to produce or play a clean tone in this frequency range. Instead of a stable tone, a "wobbly" or "howling" sound occurs, hence the name wolf tone. This can be relatively mild, in which case the affected instrument may still be playable with considerable effort from a skilled or trained musician. However, it can also be so pronounced that the affected instrument is barely or not at all playable. The cello is the most severely and frequently affected instrument in the violin family.

[0005] Since even very old master instruments are affected by wolf infestation, this also presents a financial problem, as the value of a violin by Amati, Stradivari, or Guarneri is strongly linked to its characteristics. Impairment of the playability of such an instrument can pose a significant financial burden for the owner. It also affects the artistic development of the musicians involved, as they attempt to compensate for the weakness of their instrument through playing technique. However, this is only possible to a limited extent and is detrimental to the interpretation of a piece of music.

[0006] CH 572 257 A5, US 5 892 166 A, and WO 96 / 36038 A1 all depict musical strings, each of which has sections with fewer windings than other sections. In these musical strings, the sections near the ends are wound less densely than the middle sections.

[0007] US 4 326 444 A shows a musical string in which the winding layers are compressed along part of its length.

[0008] The object of the invention is therefore to provide a musical string of the type mentioned above, with which the occurrence of a wolf tone in a correspondingly stressed stringed instrument can be reduced, in particular prevented.

[0009] According to the invention, this is achieved by the features of claim 1.

[0010] This can reduce the occurrence of a wolf tone on a stringed instrument prone to this effect. In particular, it can prevent a wolf tone from occurring at all. If such a wolf tone should nevertheless occur, it will be less pronounced and weak enough due to the effect of the string itself that it can be easily controlled by the musician through bow pressure without impairing playability or the interpretation of the piece.

[0011] The dependent claims relate to further advantageous embodiments of the invention.

[0012] The invention is described in more detail with reference to the enclosed drawings, in which only preferred embodiments are shown by way of example. These show:

[0013] Fig. 1 a schematic view of a physical musical string;

[0014] Fig. 2 shows a detailed view of a third preferred embodiment of a musical string;

[0015] Fig. 3 a violin with at least one representational musical string;

[0016] Fig. 4 a first string holder;

[0017] Fig. 5 shows a second tailpiece; and Fig. 6 shows a detailed view of a fourth preferred embodiment of a musical string; and

[0018] Fig. 7 shows a detailed view of the fifth preferred embodiment.

[0019] Fig. 1 shows a schematic view and Figs. 2, 6 and 7 show detailed views of a musical string 1 for a stringed instrument 6 with a predetermined scale length 7, in particular a stringed instrument 6 of the violin family, with a supporting string core 2, wherein the musical string 1 has a first end 5 for attachment to a tailpiece 8 of the stringed instrument 6, wherein the musical string 1 has a first winding 9 in a region adjacent to the first end, the length 29 of which is between 3% and 40%, in particular between 10% and 35%, of the scale length 7, and the winding length 10 of the first winding 9 is between 3% and 40%, in particular between 10% and 35%, of the scale length 7.

[0020] This can reduce the occurrence of a wolf tone on a string instrument 6, which is prone to producing wolf tones. In particular, it can prevent a wolf tone from occurring at all. Should such a wolf tone nevertheless occur, it will be less pronounced and weaker or attenuated due to the effect of the music string 1. The musician can control a very weak wolf tone with bow pressure, with only a minimal impact on the playability or interpretation of a piece of music.

[0021] The wolf tone arises from the interaction of a body resonance, often the bass bar resonance, and a musical string (1), which is bowed when a note is played whose fundamental frequency lies in the same frequency range as the body resonance in question. In certain individual stringed instruments (6), this body resonance is characterized by high Q and low damping. This is accompanied by a narrow bandwidth. As a result, within a very narrow frequency range, excessive energy is drawn from the exciting musical string (1), causing its fundamental frequency to collapse. For further details and explanations of the wolf tone, see the textbook "Die Physik der Geige" (The Physics of the Violin) by L. Cremer (1981) and the paper / article "The Violin as a Circuit" by J.C. Schelleng.from 1962 as well as the diploma thesis “Investigation and Quantification of the Wolf Tone Behavior of the Violin with the computer-aided violin measurement system VIAS” by HEBENSTREIT, L. from 2003.

[0022] The embodiments and detailed views shown in Figures 1, 2, 6, and 7 are simplified representations. The proportions do not necessarily correspond to the intended actual proportions. For better understanding, individual parts may be shown in a greatly enlarged view or with significantly exaggerated proportions.

[0023] A preferred application for such musical strings 1 is in the stringed instruments 6 of the violin family, namely the violin, the viola, the cello, and the bass (double bass). Other preferred stringed instruments 6 for the use of musical strings 1 according to the invention are the viola da gamba and the viola d'amore.

[0024] The musical strings 1 according to the invention are designed to generate tone-producing vibrations. A specific musical string 1 is intended for use on a particular type of musical instrument. The corresponding instrument for which a musical string 1 is intended or designed is also indicated on the musical string 1 itself or on its packaging.

[0025] A stringed instrument 6 has a so-called scale length 7. The term "scale length" refers to the distance between the bridge 25 and the nut 26 of the stringed instrument 6, particularly in the case of stringed instruments 6 of the violin family. Fig. 3 shows a schematic plan view of a violin. The relevant divisions are each labeled with reference symbols. Every stringed instrument 6 of the opposite family has both a bridge 25 and a nut 26. The individual stringed instruments 6 of the violin family each have, in particular, the following scale lengths 7:

[0026] String instrument: Scale length:

[0027] 4 / 4 violin 32.5 cm 3 / 4 violin 30.5 cm

[0028] 1 / 2 violin 28.3 cm

[0029] 1 / 4 violin 25.5 - 26 cm

[0030] 1 / 8 violin 23 - 24 cm

[0031] 1 / 16 violin 21.5 cm

[0032] 4 / 4 viola 37 - 37.5 cm

[0033] 4 / 4 cello 68 - 70 cm

[0034] 3 / 4 cello 62.2 - 65 cm

[0035] 1 / 2-Cello 58.8 - 60 cm

[0036] 1 / 4 cello 52.3 - 54.5 cm

[0037] 1 / 8 cello 46 - 48 cm

[0038] 4 / 4 bass 110 cm

[0039] 3 / 4 bass 104 - 105 cm

[0040] 1 / 2-bass 96.5 cm

[0041] 1 / 4 bass 90 - 90.5 cm

[0042] In practice, the individual measurements (7) exhibit a length tolerance of less than

[0043] 5%, preferably less than 3%, in particular approximately 1.5%. The mensur

[0044] For the sake of completeness, it should be noted that in some publications, instead of the scale 7, which runs from the bridge 25 to the nut 26, the so-called soundboard scale 15 and the so-called neck scale 14 are specified. The soundboard scale 15 and the neck scale 14 are shown in Fig. 3. The scale 7 corresponds to the sum of the soundboard scale 15 and the neck scale 14, see Fig. 3.

[0045] The individual stringed instruments 6 are often custom-made and may exhibit certain deviations from the above specifications regarding their scale length 7. Furthermore, the bridge 25 is not permanently attached to the soundboard of a stringed instrument 6. The bridge 25 is positioned on the soundboard and pressed against it by the musical strings 1, thus holding it in place. The exact position of the bridge 25 is usually set or "fine-tuned" by the luthier.

[0046] A stringed instrument (6) typically has several strings (1). Stringed instruments (6) of the violin family usually have four strings (1), with the same scale length (7) for all these strings (1) stretched across the instrument. The individual strings (1) differ in their pitch. A violin has strings (1) with the following pitches: G, D 1 , a 1, e 2 The tuning note indicates the fundamental tone at which a segment of the musical string 1, of the length of the scale 7 of a specific type of stringed instrument 6, vibrates when the musical string 1 is weighted with the tuning weight, i.e., under tension, and is set into vibration. The term "tuning weight" has long been used for musical strings 1 and refers to the force with which the musical string 1 is to be tensioned. Although it is a force, it is often expressed in a unit of mass, particularly kilograms. An alternative term for "tuning weight" is "string tension."

[0047] A musical string 1 is therefore designed for a specific type of stringed instrument 6, a specific pitch, and a specific tuning weight. For each commercially available musical string 1, information is provided, or directly indicated, at least regarding the type of stringed instrument 6 and the tuning pitch. Preferably, the information for a musical string 1 also includes details regarding the scale length 7 of the respective stringed instrument 6 and / or information regarding the tuning weight.

[0048] According to the invention, musical strings 1 have a core 2 which is designed and configured to absorb the force or tension to which the musical string 1 is subjected when stretched on a stringed instrument 6. The core 2 is therefore load-bearing. The core 2 can be configured as a single wire, a wire rope, a bundle of plastic fibers, or natural gut. Preferably, the core 2 comprises at least one plastic thread and / or a wire rope and / or natural gut and / or synthetic gut and / or a plastic tape and / or a plastic flat wire.

[0049] The musical string 1 has a first end 5 and a second end 12, each of which is designed to attach the musical string 1 to the stringed instrument 6. The stringed instrument 6 has, as shown in Fig. 3, a tailpiece 8 and a pegbox 28.

[0050] The first end 5 is designed and configured for attaching the musical string 1 to the tailpiece 8 of the stringed instrument 6. Preferably, the first end 5 has a predefinable widening of the diameter or a projection, preferably a so-called knob and / or a segment.

[0051] Alternatively, the first end 5 can also be designed without a special fastening support device and simply as an unsheathed extension of the string core 2. This allows the music string 1 to be attached to a receiving opening of the tailpiece 8 similarly to the attachment to the pegbox 28, whereby the first end 5 thus designed is pushed through the receiving opening, and the parts of the music string 1 arranged on both sides of the receiving opening 20 are intertwined and / or knotted together.

[0052] The first end 5 is preferably sheathed with fibers of a low-density material, preferably plastic or silk fibers. This forms a first sheath 17.

[0053] The second end 12 preferably has no extension for fastening or anchoring. The second end 12 is also preferably sheathed with fibers of a low-density material, preferably plastic or silk fibers. This forms a second sheath 18. The material is selected such that the density and thickness of these fibers are so low that they have no relevant effect on the mass distribution of the musical string 1.

[0054] A covering 17, 18 is not a wrapping layer 3, 9.

[0055] The sheathing 17, 18 differs from the winding layers 3, 9, particularly in the mass they apply to the music string. The winding layers 3, 9 are designed and configured to specifically increase this mass. This has a direct and significant influence on the frequency response of the music string. The winding layers 3, 9 preferably consist of metals, especially metals with a density greater than 2.7 kg / dm³. 3 , preferably greater than 7 kg / dm² 3 , especially greater than 11 kg / dm² 3 In contrast, the preferred plastic or silk fibers of the first and / or second sheathing 17, 18 have a density of less than 1.35 kg / dm³. 3 The covering 17, 18 does not serve to predictably increase the mass distribution. These primarily serve as visual identifiers of the respective musical string 1, to distinguish it from other musical strings, similar to a brand logo.

[0056] A sheathing 17, 18 made of plastic or silk fibers is therefore not a winding layer 3, 9 made of a metal.

[0057] According to the invention, the musical string 1 has a first winding layer 9 in a region 30 adjacent to the first end 5 – for the purpose of a predefinable, region-specific increase in the mass of the string. This region 30 has a length 29 which is between 10% and 40% of the scale length 7.

[0058] The first winding layer 9 can be configured differently. Preferably, the first winding layer 9 has at least one first winding element 11, which is wound around the string core 2 in the form of a helical line. The first winding layer 9 has a winding length 10, which is between 10% and 40% of the scale length 7.

[0059] Preferably, the first winding layer 9 of a musical string 1, which is arranged or tensioned on a stringed instrument 6, should be located only between the tailpiece 8 and the bridge 25 of the stringed instrument 6. This section 16 is shown in Fig.

[0060] Figure 3 shows that the first winding layer 9 should not contact or touch the bridge 25.

[0061] The winding layer length 10 of the first winding layer 9 is, in particular, exclusively the length of the first winding layer 9. The relatively wide winding layer length 10, ranging from 10% to 40% of the scale length 7, results from the different types of tailpieces 8. Figures 4 and 5 show different types of tailpieces 8. A musical string 1 is specifically designed and manufactured for use with a particular type of tailpiece 8. The type of tailpiece 8 is then preferably specified with the manufactured and delivered musical string 1.

[0062] Fig. 4 shows the basic physical structure of a classic tailpiece 8. This type of tailpiece 8 has been the most widespread for centuries. Although the individual types of tailpieces 8 from different manufacturers may differ in their construction and material, this type of tailpiece 8 essentially has the same dimensions. Conventional or classic tailpieces 8 are essentially long enough that the section 16 between the tailpiece 8 and the bridge 25 is essentially 1 / 6 of the scale length 7. According to a first preferred embodiment, the winding length 10 of the first winding 9 is between 12% (essentially 1 / 8) and 17% (essentially 1 / 6) of the scale length 7. This is particularly advantageous for use with a conventional or classic tailpiece 8.

[0063] Fig. 5 shows the physical structure of a tailpiece 8, which differs from the so-called classic tailpiece 8 according to Fig. 4 in terms of shape and dimensions. A key feature of this type of tailpiece 8 is that it is shorter than the classic tailpiece 8, and different tailpieces 8 of this type are available in various lengths. Furthermore, in such tailpieces 8, the receiving holes 20 for the musical strings 1 are arranged such that the musical strings 1 with different pitches—when strung—also have different distances between the first end 5 and the bridge 25. According to a second preferred embodiment, the length 10 of the first winding 9 is between 30% (essentially 1 / 3.3) and 40% (essentially 1 / 2.5) of the scale length 7. This has proven advantageous in the tailpieces 8 described above, as illustrated by way of example in Fig. 5.In the embodiment according to Fig. 1, the first winding layer 9 is arranged directly adjacent to the first end 5. This leads to a direct increase in the bending stiffness of the clamping of the music string 1 on the tailpiece.

[0064] 8 and therefore has - besides the mass aspect - a very strong and direct influence on the vibration behavior in this area of ​​the music string 1 .

[0065] Fig. 7 shows a detailed view of a fifth preferred embodiment. In this embodiment, in addition to a preferred winding layer length 10, there is a predefinable distance 31 between the first winding layer 9 and the first end 5. The first winding layer 9 is therefore not in direct physical contact with the first end 5 or – when clamped on the stringed instrument 6 – with the tailpiece 8. As a result, the bending stiffness of the musical string 1 at the bearing point remains unaffected by the first winding layer 9. This distance 31 is preferably between 5% and 10% of the scale length 7. This range has proven advantageous because it allows for sufficient decoupling of the first winding layer 9 from the first end 5 and the bearing point on the tailpiece 8, and at the same time provides a sufficient area length 29 to increase the winding layer length 10 in such a way that a sufficient mass covering can be applied or generated.In this embodiment, it is preferably provided that the winding layer length 10 is between 12% and 17% of the scale 7.

[0066] In stringed instruments 6, especially those of the violin family, musical strings 1 with a tuning pitch above 600 Hz in most cases only have the load-bearing string core 2. This often has a surface coating, but no further, non-load-bearing mass layer. In the violin, this is the e 2 -musical string which - when tuned to an a 1 at 440 Hz - exhibits a tuning tone of 659.3 Hz. Such musical strings 1 according to the invention have the first winding layer as their only winding layer.

[0067] 9 up.

[0068] Musical strings 1 for tuning tones or fundamental tones with lower frequencies, especially less than 500 Hz, generally have windings or at least a second winding layer 3, which extends over the entire length of the musical string 1. This second winding layer 3 is necessary when a higher mass distribution of the musical string 1 is desired or required. In the case of the violin, these are the g and d 1 and a 1 Musical strings 1 . Preferably, the musical string 1 has a second winding layer 3, which has a second winding element 4, which is wound in the form of a helical line essentially around the entire string core 2, therefore over the entire length of the musical string 1 .

[0069] Fig. 2 shows a third preferred embodiment of a musical string 1, in which the second winding layer 3 is arranged directly on the string core 2. The first winding layer 9 is arranged on the second winding layer 3. This third preferred embodiment can be combined with both the first and the second preferred embodiment with respect to the winding layer length 10 of the first winding layer 9.

[0070] A damping fluid 27 is preferably arranged in the spaces or cavities between adjacent turns of the first and / or second winding layer 9, 3. The representations of the damping fluid 27 in Fig. 2 and Fig. 6 are purely schematic. It would not have the closed shape of a cylinder, but would extend into the cavities.

[0071] Fig. 6 shows a fourth preferred embodiment of a musical string 1, in which the first winding layer 9 is arranged directly on the string core 2 or on a damping fluid 27 applied to the string core 2. The second winding layer 3 is arranged on top of the first winding layer 9 in the area where the first winding layer 9 is present. The second winding layer 3 then extends over the step between the first winding layer 9 and the string core 2 and runs on or along the string core 2 or the damping fluid 27. The second winding layer 3 thus forms an outer layer of the musical string 1. This fourth preferred embodiment can be combined with both the first and second preferred embodiments with respect to the length of the first winding layer 9.

[0072] Preferably, the first winding layer 9 has a greater mass per centimeter than the second winding layer 3. Therefore, the first winding layer 9 – viewed along the length of the music string 1 – preferably has a higher weight per meter or a higher mass per unit area than the second winding layer 3. This applies to the two winding layers 3 and 9 separately and not to the mass per unit area of ​​the music string 1 in areas where both winding layers 9 and 3 are arranged. The mass-per-centimeter ratio corresponds to the mass per unit area. This allows the resonant frequency of the section of the music string 1 located between the tailpiece 8 and the bridge 25 to be significantly reduced and brought into a range that is advantageous for reducing or "eliminating" the wolf tone.

[0073] According to a further embodiment, it is preferably provided that the first winding element 11 consists of a first material with a first density, that the second winding element 4 consists of a second material with a second density, and that the second density differs from the first density. In particular, the first density is greater than the second density. This facilitates the formation of a higher mass bellows in the area of ​​the musical string 1, which is located on the stringed instrument 6 between the bridge 25 and the tailpiece 8.

[0074] In addition to the mass distribution, the damping of a winding layer 3, 9 or several winding layers 3, 9 also affects the sound of a musical string 1 and its playability. It is therefore preferably provided that the first winding layer 9 has a first internal damping, that the second winding layer 3 has a second internal damping, and that the second internal damping is different from the first internal damping, in particular smaller than the first internal damping.

[0075] In addition to a second winding layer 3, one or more further winding layers can be provided. Therefore, in a further development of the musical string in question, it is preferably provided that the musical string 1 has a third winding layer, which has a third winding element that is wound around the string core 2 in the form of a helical line. This allows both the mass bellows and the damping to be adjusted more precisely.

[0076] The following are principles for understanding and interpreting the disclosure in question.

[0077] Characteristics are usually introduced with the indefinite article "ein, eine, eines, einer". Unless the context indicates otherwise, "ein, eine, eines, einer" should therefore not be understood as a numeral. The phrase "essentially" in conjunction with a numerical value includes a tolerance of ± 10% around the stated numerical value, unless the context indicates otherwise.

[0078] Value ranges include the endpoints unless the context indicates otherwise.

Claims

PATENT CLAIMS 1. Musical string (1) for a stringed instrument (6) with a predetermined scale length (7), in particular a stringed instrument (6) of the violin family, with a supporting string core (2), wherein the musical string (1) has a first end (5) for attachment to a tailpiece (8) of the stringed instrument (6), characterized in that the musical string (1) has a first winding (9) in a region (30) adjacent to the first end (5), the length (29) of which is between 3% and 40% of the scale length (7), and that the winding length (10) of the first winding (9) is between 3% and 40% of the scale length (7).

2. Musical string (1 ) according to claim 1 , characterized in that the winding layer length (10) is between 12% and 17% of the scale length (7).

3. Musical string (1 ) according to claim 1 , characterized in that the winding layer length (10) is between 30% and 40% of the scale length (7).

4. Musical string (1 ) according to one of claims 1 to 3, characterized in that a predefinable distance (31 ) between the first winding layer (9) and the first end (5) is between 5% and 10% of the scale length (7).

5. Musical string (1 ) according to one of claims 1 to 3, characterized in that the first winding layer (9) is arranged immediately adjacent to the first end (5).

6. Music string (1 ) according to one of claims 1 to 5, characterized in that the music string (1 ) has a second winding layer (3) which has a second winding element (4) which is wound in the form of a helical line substantially over the entire length of the music string (1 ) around the string core (2).

7. Musical string (1) according to one of claims 1 to 5 or claim 6, characterized in that the first winding layer (9) has at least one first winding element (11) which is wound in the form of a helical line around the string core (2) and / or the second winding layer (3).

8. Music string (1 ) according to one of claims 1 to 7, characterized in that the first winding layer (9) - in the longitudinal extension of the music string (1 ) - has a higher weight per meter than the second winding layer (3).

9. Musical string (1 ) according to one of claims 5 or 6, characterized in that the first winding element (11 ) consists of a first material with a first density, that the second winding element (4) consists of a second material with a second density, and that the second density is different from the first density.

10. Musical string (1 ) according to one of claims 1 to 7, characterized in that the first winding layer (9) has a first internal damping, that the second winding layer (3) has a second internal damping, and that the second internal damping is different from the first internal damping.

11. Music string (1 ) according to one of claims 1 to 8, characterized in that the music string (1 ) has a third winding layer which has a third winding element which is wound in the form of a helical line around the string core (2).

12. Stringed instrument (6) with a tailpiece (8), a bridge (25) and a nut (26), wherein the stringed instrument (6) has a scale (7) between the bridge (25) and the nut (26), wherein a musical string (1) according to one of claims 1 to 11 is arranged on the stringed instrument (6), wherein the first winding (9) is arranged between the tailpiece (8) and the bridge (25).

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