Musical string

Abstract

The invention relates to a musical string (1) for a stringed instrument (27), in particular a guitar and / or a bowed stringed instrument (30) of the violin family, the musical string (1) having a supporting string core (2), which is designed as a wire strand (3), and the wire strand (3) having a core (4) and a cover (5), the cover (5), which is part of the string core (2), comprising at least six cover wires (9, 10, 11, 12, 13, 14), wherein at least one first cover wire (9), a second cover wire (10) which rests against the first cover wire (9), and a third cover wire (11) which rests against the second cover wire (10) are circumscribed by a first circle (23) which runs normal to the longitudinal direction (24) of the musical string (1). According to the invention, a first spacing (25) between a fourth cover wire (12) and the adjacent third cover wire (11) is provided at at least one specifiable first location (32) in the longitudinal direction (24) of the musical string (1).

Description

[0001] musical string

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

[0003] There are various or different musical genres, such as classical music, jazz and pop music.

[0004] Musical strings possess certain properties that determine their sound and how they can be played or stimulated by the musician on the instrument. These characteristics—according to the standard technical terms—in particular include response, damping, timbre, whistling, modulation capability, and tonal shapes.

[0005] It has been shown that musical strings perfectly suited for playing classical music, and capable of beautifully reproducing pieces of this genre, can exhibit significant disadvantages in other musical styles, particularly regarding individual tone production and reproduction. In jazz, in particular, classical strings can limit the musician's interpretive and expressive possibilities. The musician cannot fully develop their expression and is restricted in their performance. The musician's interpretation of a piece is hindered, and the artist is thus unable to realize their full potential. Besides jazz, this disadvantage also affects various nationally transmitted and folk-practiced musical styles. Examples of such styles include the so-called "folk music" of East Asia and the Middle East.

[0006] US 2010 / 071529 A1 describes a musical string with a string core designed as a conventional rope.

[0007] US 2021 / 125587 A1 describes a manufacturing process in which the string core is tensioned to varying degrees during winding.

[0008] US Patent 3,605,544 does not show a string core designed as a rope, but merely windings that do not lie against each other and which also do not bear the string tension. The object of the invention is therefore to provide a musical string of the type mentioned above, with which the aforementioned disadvantages can be avoided and which is designed for the reproduction of a specific genre of music.

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

[0010] This allows for the creation of a musical string specifically designed and trained for the reproduction of a particular, preferably only one, genre of music. This enables the creation of a musical string that is tailored to the wishes and requirements of musicians, especially individual musicians. This allows artists to fully develop their skills and share their genius with others. Such musical strings can be designed and manufactured to possess playing characteristics that have proven advantageous in the reproduction of specific musical genres or pieces.

[0011] This allows a musical string to be produced with a predefinable, non-constant torsional vibration. Properties of the musical string, in particular response, damping, timbre, whistling characteristics, modulation capability, and / or sound shapes, can thus be predefinably influenced and specifically adjusted.

[0012] The dependent claims relate to further advantageous embodiments of the invention.

[0013] 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:

[0014] Fig. 1 shows a section of a preferred embodiment of a musical string according to the invention with a first preferred embodiment of a string core in a partially cutaway view;

[0015] Fig. 2 shows a sectioned cross-section of a second preferred embodiment of a string core of a musical string according to the invention; and

[0016] Fig. 3 shows a violin. Figs. 1 and 2 show a section of a musical string 1 in elevation and elevation, respectively.a cross-section of a string core 2 of a musical string 1 for a stringed instrument 27, in particular a guitar and / or a bowed instrument 30 of the violin family, wherein the musical string 1 has a string core 2, which bears the string tension and is designed as a wire rope 3, wherein the wire rope 3 has a core 4 and a sheath 5, wherein the sheath 5 comprises at least six sheath wires 9, 10, 11, 12, 13, 14, wherein at least a first sheath wire 9, a second sheath wire 10 (adjacent to the first sheath wire 9) and a third sheath wire 11 (adjacent to the second sheath wire 10) are circumscribed by a first circle 23 extending perpendicular to a longitudinal direction 24 of the musical string 1, wherein at at least one definable first position 32 in the longitudinal direction 24 of the musical string 1 a first distance 25 between a fourth sheath wire 12 and the adjacent third sheath wire 11.

[0017] This allows for the creation of a musical string 1 specifically designed and trained for the reproduction of a particular, preferably only one, genre of music. This enables the creation of a musical string 1 that is trained in such a way as to meet the wishes and requirements of musicians, especially individual musicians. This allows artists to fully develop their abilities and share their genius with others. Such musical strings 1 can be trained and manufactured to possess playing characteristics that have proven advantageous in the reproduction of specific musical genres or pieces.

[0018] This allows a musical string 1 to be generated with a predefinable, non-constant torsional vibration. Properties of the musical string 1, in particular response, damping, timbre, whistling characteristics, modulation capability and / or sound shapes, can thus be predefinably influenced and specifically adjusted.

[0019] The embodiments and detailed views shown in Figures 1 and 2 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.

[0020] 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.

[0021] The musical strings 1 in question are intended for stringed instruments 27. In particular, these musical strings 1 are intended for guitars or bowed string instruments. A preferred application for such musical strings 1 is bowed string instruments such as the instruments of the violin family, hence the violin 30, the viola, the cello, and the bass, double bass, or bass fiddle. Other preferred instruments for the use of musical strings 1 according to the invention are the viola da gamba and the viola d'amore. Furthermore, these can also be advantageously used for guitars, in particular the different types of guitars. Such musical strings 1 according to the invention can preferably be provided for all bowed and / or plucked stringed instruments 27 in which the vibrating length of the musical string 1 is varied to produce sounds with different fundamental frequencies.In such stringed instruments 27, the musical strings 1 are pressed against the fingerboard of the stringed instrument 27 by the player's fingers during playing, thus varying the vibrating length and consequently the pitch. Other preferred stringed instruments 27 are: banjos, sitar, lutes, oud, p'i-pa, gekkin, balalaika, vina, tampura.

[0022] The musical strings in question 1 are preferably not intended and / or designed for instruments which have a separate string for each note, which are fixed in a housing, and where the strings are not plucked by the musician to produce different pitches. These are in particular pianos, the harpsichord, the zither, the harp and similar stringed instruments 27.

[0023] A stringed instrument 27, in particular the stringed instruments 27 of the guitar family and the violin family, has a so-called scale length 28. The term "scale length" refers, in the case of stringed instruments of the violin family 30, to the distance between the bridge 34 and the nut 35 of the instrument. In the case of guitars, this is the distance between the nut and the bridge. Fig. 3 shows a schematic plan view of a violin. The relevant divisions are each labeled with reference symbols. Every stringed instrument of the opposite family has both a bridge 34 and a nut 35. The individual stringed instruments of the violin family 30 each have the following scale lengths:

[0024] String instrument: Scale length:

[0025] 4 / 4 violin 32.5 cm

[0026] 3 / 4 violin 30.5 cm

[0027] 1 / 2 violin 28.3 cm

[0028] 1 / 4 violin 25.5 - 26 cm

[0029] 1 / 8 violin 23 - 24 cm

[0030] 1 / 16 violin 21.5 cm

[0031] 4 / 4 viola 37 - 37.5 cm

[0032] 4 / 4 cello 68 - 70 cm

[0033] 3 / 4 cello 62.2 - 65 cm

[0034] 1 / 2-Cello 58.8 - 60 cm

[0035] 1 / 4 cello 52.3 - 54.5 cm

[0036] 1 / 8 cello 46 - 48 cm

[0037] 4 / 4 bass 110 cm

[0038] 3 / 4 bass 104 - 105 cm

[0039] 1 / 2 bass 96.5 cm 1 / 4 bass 90 - 90.5 cm

[0040] The individual measurements 28 exhibit a length tolerance of less than 5% in practice, preferably less than 3%, and in particular approximately 1.5%. The measurement

[0041] As already mentioned, a musical string 1 is intended for generating tone-producing vibrations. The musical string 1 has a tuning pitch and a so-called tuning weight as its characteristics, whereby the tuning pitch indicates the fundamental tone at which the scale length 28 vibrates when the musical string 1 is weighted with the tuning weight, i.e., tensioned, and set into vibration. In this technical field, the term "tuning weight" refers to the force with which the musical string 1 is to be tensioned. Another term for the tuning weight is string tension force.

[0042] The musical strings 1 according to the invention 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 musical instrument. The core 2 is therefore load-bearing.

[0043] The musical string (1) therefore has a string core 2 that bears the string tension force.

[0044] String tension is a tensile force acting on the musical string 1, tensioning it when it is strung. When the musical string 1 is strung on the stringed instrument 27, in particular the violin 30, the core 2 transmits the string tension from the nut 35 to the tailpiece 36. Specifically, the core 2, and essentially only the core 2, transmits this string tension. The load-bearing capacity of the tailpiece 2 also limits the magnitude of the string tension.

[0045] The winding elements and the winding layers 19, 20, 21 formed from them are not part of the string core 2. The winding layer 19, 20, 21 is not the sheath 5 of the wire rope 3. A winding element is not a sheath wire 9, 10, 11, 12, 13, 14. This is also shown in Fig. 1. The winding elements and the winding layers 19, 20, 21 formed from them do not carry or transmit the string tension. They run transversely to the longitudinal extent of the music string 1. The winding layers 19, 20, 21 serve to increase the mass of the music string 1.

[0046] The musical string 1 further preferably has at least one first winding element, which first winding element in the form of a helical line around the string core

[0047] 2 is wound. The first winding element is part of a first winding layer 19, which may also include further winding elements. The preferred embodiment according to Fig. 1 has, in addition to the first winding layer 19, a second winding layer 20 comprising the first winding layer 19. A preferred third winding layer 21 is further arranged around the second winding layer 20. The winding elements of the different winding layers 19, 20, 21 have different cross-sections.

[0048] The string core 2 is designed as a wire rope 3. A string core 2 made of a wire rope 3 is known, for example, from EP 2 131 352 A1 of the applicant.

[0049] The wire rope 3 has a core 4 and a sheath 5, with the sheath 5 surrounding or enclosing the core 4.

[0050] The core 4 forms the inner core area of ​​the wire rope 3. The core 4 comprises at least three core wires 6, 7, 8: the first core wire 6, the second core wire 7, and the third core wire 8. The at least three core wires 6, 7, 8 are wound helically around a geometric center of the string core 2 and are circumscribed by a second circle 31.

[0051] It may preferably be provided that the wire rope is located essentially in the center.

[0052] 3. A core insert 18 comprising a predetermined number of polymer threads is arranged, preferably comprising polyamides, aramid fibers, PEK, PEEK, PBT, polyester, nylon, polyethylene, PET, PEET, PES, PE, PP, POM, PTFE, PVDF, PVDC and / or PVC. It is particularly preferred that the polymer threads are made of polyamide 6.4, 6.6, 6.10 or 6.12 with a fineness of 32 dtex to 200 dtex or of polyester PES with a fineness between 60 dtex and 500 dtex, and combinations of different polymer threads may also be provided. The sheath 5 comprises at least six sheath wires 9, 10, 11, 12, 13, 14, 15, 16, 17, which are wound helically or helically around the core 4.The at least six sheath wires 9, 10, 11, 12, 13, 14 comprise the first sheath wire 9, the second sheath wire 10, the third sheath wire 11, the fourth sheath wire 12, the fifth sheath wire 13 and the sixth sheath wire 14. Furthermore, additional sheath wires, in particular seven, eight, nine, ten, may be provided.

[0053] The sheath wires 9, 10, 11, 12, 13, 14 preferably consist of or comprise steel, in particular a carbon steel, preferably with a carbon content between 0.01% and 0.03%, or a chromium-nickel steel, preferably with a chromium content between 17% and 20% and a nickel content between 8% and 10%. Steel has proven to be particularly advantageous in this context. Preferably, the six sheath wires 9, 10, 11, 12, 13, 14 each comprise the same type of steel.

[0054] In further development, it has proven to be another way to selectively control the vibration behavior of the musical string 1 to make individual sheath wires 9, 10, 11, 12, 13, 14 from different materials. According to a further embodiment, it is therefore preferably provided that at least the first sheath wire 9, the second sheath wire 10, and the third sheath wire 11 each comprise the same first material. The fourth sheath wire 12, however, comprises a second material that differs from the first. The two materials differ in particular in their modulus of elasticity, density, tensile strength, and springback ratio.

[0055] The sheath wires 9, 10, 11, 12, 13, 14 preferably have a circular cross-section, although other cross-sectional shapes are also possible, such as elliptical, triangular, or hexagonal. Preferably, all sheath wires 9, 10, 11, 12, 13, 14 of a sheath 5 have the same cross-sectional shape. Furthermore, the six sheath wires 9, 10, 11, 12, 13, 14 preferably each have substantially the same diameter or cross-sectional area. This is particularly advantageous when processing the corresponding sheath wires 9, 10, 11, 12, 13, 14.

[0056] Of the sheath wires 9, 10, 11, 12, 13, 14, the second sheath wire 10 rests against the first sheath wire 9 when the music string 1 is straight or linearly aligned, and therefore not bent. In this state of the music string 1, the third sheath wire 11 rests against the second sheath wire 10. The term "rests" means, in particular, that the sheath wires 9, 10, 11 in question are in direct contact. No other material is positioned between these sheath wires 9, 10, 11. There is no gap between these sheath wires 9, 10, 11.

[0057] The three sheath wires 9, 10, 11, arranged side by side, are circumscribed by a first circle 23. The first circle 23 is therefore arranged and has a corresponding diameter such that the first, second, and third sheath wires 9, 10, 11 abut it or geometrically touch it. Further sheath wires 9, 10, 11, 12, 13, 14 may also be circumscribed by the first circle 23. The first circle 23 lies at a right angle to, or perpendicular to, a longitudinal direction 24 or axis of rotation 33 of the musical string 1.

[0058] It is provided that at at least one definable first location 32 in the longitudinal direction 24 of the music string 1, a first distance 25 exists between a fourth sheath wire 12 and the adjacent third sheath wire 11. The first location 32 is a point on the music string 1 or the core 2 of the music string 1, and marks a cross-section at a right angle to the longitudinal extent 24 or axis of rotation 33 of the music string 1. At this first location 32, the surface of the fourth sheath wire 12 does not abut the surface of the third sheath wire 11, so that a first distance 25 exists between the two sheath wires 11, 12. The first distance 25 between these two sheath wires 11, 12 is preferably determined or measured transversely or at a right angle to one of the two sheath wires 11, 12. The first distance 25 intersects the first point or the plane which marks the first point 32, which - as in Fig.1 shown - lies at a right angle to the longitudinal extent 24 or a rotation axis 33 of the music string 1.

[0059] The distance between the adjacent third sheath wire 11 and the fourth sheath wire 12 is a distance between two independent and distinct parts. The third sheath wire 11 is not the fourth sheath wire 12. A distance existing at a specific point between two adjacent, distinct, individual, or independent components is not a distance between two points of the same component.

[0060] The distance between the adjacent third and fourth sheath wires 11, 12 is generally not constant but varies. In particular, this distance can increase over a certain range, reach a maximum, and then decrease again. The first distance 25 is therefore the largest or maximum distance between the third and fourth sheath wires 11, 12. The first position 32 therefore denotes the point on the path of the opening between the third sheath wire 11 and the fourth sheath wire 12 at which the greatest distance between the two sheath wires 11, 12 exists.

[0061] Different dimensions for the first spacing 25 have proven suitable. It has proven advantageous both in the manufacture of the musical string 1 and in achieving the desired objectives if the first spacing 25 is between 5% and 50% of the diameter of the fourth sheath wire 12. Here, reference is made to the diameter of a circular cross-section. For other cross-sectional shapes, reference is made to the width at the maximum spacing. In Fig. 2, the sheath wires 9, 10, 11, 12, 13, 14 are shown elliptically. This is the cross-section of the cut surface of a circular cross-section of helically twisted sheath wires 9, 10, 11, 12, 13, 14.

[0062] As explained above, the distance can vary, increasing and then decreasing again. Preferably, the fourth sheath wire 12 is in contact with, or touches, the third sheath wire 11 at certain points along its helical path.

[0063] In addition to the fourth sheath wire 12, the fifth and / or sixth sheath wires 13, 14 can also have a corresponding distance between their respective adjacent sheath wires. The fifth sheath wire 13 can also be in contact with the fourth sheath wire 12 and follow its path.

[0064] The same applies to the sixth sheath wire 14. The aim is to create a predefinable asymmetry. This effect can be intensified by using several sheath wires 13, 14 that follow the path of the fourth sheath wire 12. In this case, a maximum of half of the sheath wires 9, 10, 11, 12, 13, 14 of a sheath 5 are arranged according to the path of the fourth sheath wire 12.

[0065] The following explanations are limited to the fourth sheath wire 12, but can also be applied to further sheath wires 9, 10, 11, 12, 13, 14.

[0066] It is possible to guide the fourth outer wire 12 fully into contact with the core 4 along certain lengths of the music string 1. Preferably, however, the fourth outer wire 12 extends beyond the first circle 23. In this case, a predetermined third distance 26 will exist – at the first point 32 – between an outer end of the fourth outer wire 12 and the first circle 32. This extending portion of the fourth outer wire 12, in addition to creating a more pronounced asymmetry, also affects the outer surface of the music string 1 and thus the areas on which the musician plucks or sets the music string 1 into vibration. This directly influences the response and bowing behavior. In this way, the response can be specifically influenced or predetermined.

[0067] Furthermore, it can also be provided that the fourth sheath wire 12 is in contact with the third sheath wire 11 at a predefinable third position, preferably a predefinable length section, over at least one full turn.

[0068] In addition to the properties at the first position 32, the musical string 1 can also have a second position. This second position is a predefinable first length segment spaced from the first position 32. At the second position, there is a second distance between the fourth outer wire 12 and the third outer wire 11. This second distance can differ from the first distance in its dimensions. This allows the properties of the musical string 1 to be influenced differently depending on the fingering of the notes. Preferably, the first length segment is between 15% and 117% of the scale length 28 of the stringed instrument 27. The scale length 28 refers to the musical instrument for which the musical string 1 is designed. 15% of the scale length 28 corresponds essentially to the bowing range of an instrument of the violin family 30.117% of the scale length 28 corresponds essentially to the entire vibrating area of ​​the musical string 1, i.e. from the upper nut 35 to the tailpiece 36 of an instrument of the violin family 30.

[0069] Wire ropes 3 have a lay angle a, ß and a lay length.

[0070] Preferably, the beating angle α, β is varied to obtain the first distance 25. Such an embodiment is also shown in Fig. 1. In this embodiment, at least the first sheath wire 9, the second sheath wire 10, and the third sheath wire 11 have a first beating angle α. In the embodiment according to Fig. 1, the fifth and sixth sheath wires 13, 14 also have the first beating angle α or are twisted together with the first beating angle α. The fourth sheath wire 12 has a second beating angle β at least in the area around the first position 32. At least at the first position 32, the second beating angle β differs from the first beating angle α. In other areas, the second beating angle β may well correspond essentially to the first beating angle α. It may therefore be provided that the second beating angle β is changed or varied during the manufacturing process.In particular, it can be provided that the second impact angle β has a predefinable periodic profile.

[0071] According to a first preferred embodiment of different striking angles a, ß, it is provided that the second striking angle ß is smaller than the first striking angle a.

[0072] According to a second preferred embodiment of different striking angles a, ß, it is provided that the second striking angle ß is greater than the first striking angle a.

[0073] Regarding the differences between the two striking angles a, β, differences of between 3° and 9° have proven advantageous for both larger and smaller second striking angles β, both with respect to processing and implementation during the manufacturing process and the resulting acoustic and playing effects. Alternatively or additionally to changing the striking angle a, β, a further preferred embodiment may provide that the first sheath wire 9, the second sheath wire 10, and the third sheath wire 11 each have the same first striking length. However, the second striking length of the fourth sheath wire 12 differs from the first striking length. In this preferred embodiment, such a difference exists at least at the first position 32, but can also occur at other positions.In particular, it is not intended that such differences should appear continuously over large sections of the musical string. Rather, it is preferably intended that this should also be the case at a second location, which second location is spaced from the first location 32 within a predefinable first length segment. Therefore, this distinguishing feature preferably does not exist between the first and the second location 32.

[0074] Different lay lengths can be used to deliberately cause the fourth sheath wire to wrap around 12 parts of the other sheath wires 9, 10, 11, 13, 14 and to be arranged over further length segments outside the first circle 23. This can be used to create particularly distinctive musical strings 1 for very specific applications or requirements of the musicians.

[0075] According to a first preferred design for different beat lengths, the second beat length is shorter than the first. Differences of 3% to 9% have proven advantageous in terms of both sound and manufacturing.

[0076] According to a second preferred embodiment of different beat lengths, the second beat length is greater than the first. A greater second beat length offers considerably more flexibility. This is easily achievable even with large differences. As a result, a much wider range of properties can be attained. In particular, differences between 10% and 110% have proven advantageous in achieving specific acoustic and playing characteristics of the musical string 1. If, at the first position 32 or in the area around the first position 32, the second beat length is essentially about 100% greater than the first beat length, and therefore corresponds to twice the first beat length, then the fourth sheath wire 12 overlaps the adjacent third sheath wire 11 and, in particular, the other sheath wires in the area around this first position 32.The fourth sheath wire 12 is not part of the winding of the other sheath wires at the first position 32, but skips over them.

[0077] The following are principles for understanding and interpreting the disclosure in question.

[0078] Characters are usually introduced with an indefinite article "ein, eine, eines, einer". Unless the context indicates otherwise, "ein, eine, eines, einer" should therefore not be understood as a numeral.

[0079] The phrase "essentially" in conjunction with a numerical value includes a tolerance of ± 10% around the stated numerical value, unless otherwise indicated by the context.

[0080] Value ranges include the endpoints unless the context indicates otherwise.

Claims

P A T E N T A N S P R Ü C H E 1. A musical string (1) for a stringed instrument (27), in particular a guitar and / or a bowed instrument (30) of the violin family, wherein the musical string (1) has a supporting core (2) which is designed as a wire rope (3), wherein the wire rope (3) has a core (4) and a sheath (5), wherein the sheath (5) - which is part of the core (2) - comprises at least six sheath wires (9, 10, 11, 12, 13, 14), wherein at least a first sheath wire (9), a second sheath wire (10) - abutting the first sheath wire (9) and a third sheath wire (11) - abutting the second sheath wire (10) are circumscribed by a first circle (23) extending perpendicular to a longitudinal direction (24) of the musical string (1), characterized in that at least one at the first predefinable point (32) in the longitudinal direction (24) of the music string (1) a first distance (25) exists between a fourth sheath wire (12) and the adjacent third sheath wire (11).

2. Musical string (1 ) according to claim 1 , characterized in that the fourth sheath wire (12) extends beyond the first circle (23).

3. Musical string (1 ) according to one of claims 1 or 2, characterized in that the first distance (25) is between 5% and 50% of a diameter of the fourth sheath wire (12).

4. Music string (1 ) according to one of claims 1 to 3, characterized in that the music string (1 ) has in a predefinable first length section a second location spaced apart from the first location (32) at which a second distance exists between the fourth sheath wire (12) and the third sheath wire (11 ).

5. Musical string (1 ) according to claim 4, characterized in that the first length section is between 15% and 117% of a scale length (28) of the stringed instrument (27) for which the musical string (1 ) is designed.

6. Musical string (1 ) according to one of claims 1 to 5, characterized in that the fourth sheath wire (12) is in contact with the third sheath twist (11) at a predefinable third position via a full turn.

7. Musical string (1 ) according to one of claims 1 to 5, characterized in that the fourth sheath wire (12) is spaced apart from the third sheath wire (11) at essentially every turn around the core (4).

8. Musical string (1 ) according to one of claims 1 to 7, characterized in that at least the first sheath wire (9), the second sheath wire (10) and the third sheath wire (11 ) have a first beating angle (a), that the fourth sheath wire (12) has a second beating angle (ß), and that the second beating angle (ß) is different from the first beating angle (a) at least at the first position (32).

9. Musical string (1 ) according to claim 8, characterized in that the second striking angle (β) can be predetermined, in particular by 3° to 9°, smaller than the first striking angle (α).

10. Musical string (1 ) according to claim 8, characterized in that the second striking angle (β) can be predetermined, in particular by 3° to 9°, greater than the first striking angle (α).

11. Musical string (1 ) according to one of claims 1 to 10, characterized in that the first sheath wire (9), the second sheath wire (10) and the third sheath wire (11 ) have a first beat length, that the fourth sheath wire (12) has a second beat length, and that the second beat length is different from the first beat length at least at the first position (32).

12. Musical string (1) according to claim 11, characterized in that the second stroke length can be predetermined, in particular by 3% to 9%, shorter than the first stroke length.

13. Musical string (1) according to claim 11, characterized in that the second stroke length is predeterminable, in particular by 10% to 220%, greater than the first. The striking distance is.

14. Musical string (1 ) according to one of claims 1 to 13, characterized in that the six sheath wires (9, 10, 11 , 12, 13, 14) each have substantially the same diameters.

15. Musical string (1) according to one of claims 1 to 14, characterized in that the six sheath wires (9, 10, 11, 12, 13, 14) each comprise the same steel, in particular a carbon steel, preferably with a C content between 0.01% and 0.03%, or a chromium-nickel steel, preferably with a Cr content between 17% and 20% and a Ni content between 8% and 10%.

16. Musical string (1 ) according to one of claims 1 to 14, characterized in that at least the first sheath wire (9), the second sheath wire (10) and the third sheath wire (11 ) comprise a first material, and that at least the fourth sheath wire (12) comprises a second material different from the first material.

17. Music string (1 ) according to one of claims 1 to 15, characterized in that the music string (1 ) has at least one first winding element, which first winding element is wound in the form of a helical line around the string core (2), and that the first winding element is part of a first winding layer (19) of the music string (1 ).

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