Classifications

• • G—PHYSICS
  • G10—MUSICAL INSTRUMENTS; ACOUSTICS
  • G10D—STRINGED MUSICAL INSTRUMENTS; WIND MUSICAL INSTRUMENTS; ACCORDIONS OR CONCERTINAS; PERCUSSION MUSICAL INSTRUMENTS; AEOLIAN HARPS; SINGING-FLAME MUSICAL INSTRUMENTS; MUSICAL INSTRUMENTS NOT OTHERWISE PROVIDED FOR
  • G10D13/00—Percussion musical instruments; Details or accessories therefor
  • G10D13/01—General design of percussion musical instruments
  • G10D13/08—Multi-toned musical instruments with sonorous bars, blocks, forks, gongs, plates, rods or teeth
• • G—PHYSICS
  • G10—MUSICAL INSTRUMENTS; ACOUSTICS
  • G10D—STRINGED MUSICAL INSTRUMENTS; WIND MUSICAL INSTRUMENTS; ACCORDIONS OR CONCERTINAS; PERCUSSION MUSICAL INSTRUMENTS; AEOLIAN HARPS; SINGING-FLAME MUSICAL INSTRUMENTS; MUSICAL INSTRUMENTS NOT OTHERWISE PROVIDED FOR
  • G10D99/00—Musical instruments not otherwise provided for

Definitions

• the invention relates to an idiophone, a use of the idiophone and a method of playing the idiophone.
• Idiophones are musical instruments that produce sound primarily by vibration of the instrument itself, in particular without the use of air flow, strings, membranes or electricity. Idiophones are typically divided into four sub-categories according to the manner how vibrations in the idiophone are excited: struck idiophones, plucked idiophones, blown idiophones and friction idiophones.
• Conventional friction idiophones include the singing bowl, which may be e.g. played with a wet finger, and the musical saw, which is typically played with a bow.
• Conventional plucked idiophones include music boxes, in particular the comb of the music box, which comprises teeth of different shape and weight that are plucked e.g. by pins arranged on a rotating drum.
• Conventional struck idiophones include the steel tongue drum, the triangle and the marimba, which may be struck by a stick or by hand.
• All conventional idiophones have in common that their dominant vibration modes are transversal or at least comprise a significant transversal component. This means that, in case of a plate-like body, the particle motion of the vibration has a transversal, i.e. out-of-plane, component. This is exemplified by a music box with the transversal vibration of the comb’s teeth. Another example is the singing bowl whose dominant vibration modes include changes in shape in the radial direction, i.e. transversal vibrations.
• idiophones Due to their transversal vibration modes, conventional idiophones are limited with regard to various aspects: e.g. shape and design, timbre and overtone spectrum, possible ways of exciting the vibrations and playing the idiophone.
• the problem to be solved by the present invention is therefore to provide an idiophone that overcomes the limitations of conventional idiophones, in particular to facilitate implementing tones of different frequencies in a single body of the idiophone, a more practical shape, a more appealing design, a specific and selectable timbre, and/or different ways of exciting the vibrations and playing the idiophone.
• the idiophone comprises a plate-like body, which may in particular be defined as follows: At least one, in particular both, of two in-plane dimensions of the plate-like body is significantly larger than a transversal dimension, in other words a thickness, of the plate-like body, in particular larger by a factor of at least 5, 10 or 20.
• the plate-like body may e.g. be a flat plate.
• the plate-like body may be curved and in particular comprise at least one of the following shapes: convex, concave and/or cylindric.
• a first in-plane vibration mode of at least a first section of the body is tuned to a first frequency.
• an “inplane vibration mode” may in particular be a vibration mode for which an associated particle motion is purely, or at least predominantly, in the plane defined by the platelike body, in particular by the first section of the plate-like body.
• the in-plane vibration mode advantageously comprises predominantly longitudinal vibrations, in particular with particle displacements taking place in the plane of the platelike body.
• Such in-plane vibration mode has a natural frequency, also called eigenfrequency, which advantageously is tuned to a desired frequency by design.
• Factors impacting the eigenfrequency may include a size and shape of the first section, a material of the first section and of the plate-like body and elastic properties of the material.
• further in-plane vibration modes and overtones of the in-plane vibration mode of the first section are tuned to certain frequencies as will be detailed below.
• the plate-like body is made of a massive plate of material.
• the first section is made from the massive plate of material.
• the material comprises at least one of metal, glass, wood, plastic and/or ceramic. These materials exhibit a suitable machinability when manufacturing the idiophone as well as suitable elastic properties for an appealing sound.
• an in-plane vibration mode of a second section of the body is tuned to a second frequency, which is in particular different from the first frequency.
• the plate-like body may comprise further sections whose in-plane vibration modes are tuned to different frequencies.
• the in-plane vibrations of the sections are advantageously tuned as notes according to a scale.
• the scale may be a diatonic, chromatic or pentatonic scale.
• a suite of sections may be tuned according to a melody.
• the sections of the plate-like body are separated by discontinuities in the body, in particular by cuts.
• the discontinuities or cuts may be made by punching or cutting, in particular laser cutting or waterjet cutting.
• the frequency of the in-plane vibration mode is in particular tunable by changing a length or course of the discontinuity adjacent to the respective section of the plate-like body.
• changing the length or course of the discontinuity may be understood as changing at least one of the parameters of an oscillatory system formed by the plate-like body with the respective section: a size, shape and/or mass of the respective section, and/or a spring constant of a connection between the corresponding section and (a remainder of) the plate-like body.
• Each of these parameters may influence the in-plane vibration mode and its eigenfrequency.
• At least the first section in particular all tuned sections, comprises an outer edge abutting on an edge of the plate-like body.
• such “outer” sections are arranged on the edge of the plate-like body. This allows a simple manufacturing of the idiophone and facilitates specific ways of playing the idiophone, or in other words, exciting the in-plane vibration modes in the sections.
• such embodiment may e.g. be played by striking the edge of the section with a hammer or by bowing over the edge of the section in an essentially inplane direction.
• At least the first section in particular all tuned sections, does not abut on an edge of the plate-like body.
• Such “inner” section may be played e.g. by rubbing an object, such as a wet finger, over a surface of the section.
• an idiophone according to an embodiment may also comprise a mixture of “inner” and “outer” tuned sections.
• the first section may comprise an opening in the plate-like body with an inner edge. This may be particularly advantageous in case the section is an “inner” section.
• the inner edge of the section allows ways of playing the idiophone that otherwise are only applicable to an idiophone with an “outer” section, namely striking the inner edge of the section with a hammer or by bowing over the inner edge of the section in an essentially in-plane direction as described above.
• the first section comprises a bar-like element.
• the bar-like element may have an elongate shape and be connected to the remainder of the plate-like body at one or both ends.
• the bar-like element may be embodied similar to a string. In contrast to a string whose transversal vibrations are tuned, in-plane vibration modes of the bar-like element are tuned.
• At least the first section and, if present, the further sections of the idiophone are configured such that their corresponding in-plane vibration modes are excitable by at least one of the following:
• the edge may in particular be an inner or outer edge.
• the bow may e.g. be a conventional bow of a string instrument.
• the transversal surface is essentially perpendicular to the in-plane surface such that, by striking it, predominantly in-plane vibrations are excited.
• a second aspect of the invention relates to a method of playing the idiophone in one of the above-mentioned ways.
• the idiophone is advantageously mounted in a slightly flexible way.
• Possible ways of mounting the idiophone e.g. to a frame, include via a rubber or foamed material element or via springs, e.g. made of metal.
• the idiophone may be held by a player’s body part, such as by hand.
• a further in-plane vibration mode of at least the first section is tuned to a further frequency.
• the further inplane vibration mode may be transversal to the first in-plane vibration mode or a circular vibration mode.
• the further frequency of the further in-plane vibration mode is different from the first frequency of the first section.
• the further frequency may be tuned to a harmonic, i.e. an overtone, of the first frequency. This facilitates playing different tones dependent on the excited mode, e.g. rubbing a stick-slip device, such as a wet finger as described above, over the first section in different direction or in a circular movement.
• At least one overtone of the inplane vibration mode of at least the first section is tuned as a harmonic of the in-plane vibration mode, in particular of the first frequency.
• Such tuning typically leads to a pleasant sound.
• Different relative strengths of the different overtones lead to different timbres.
• an out-of-plane vibration mode in particular a transversal vibration mode, of at least the first section is tuned as a harmonic of the in-plane vibration mode.
• in-plane vibration modes and out-of-plane vibration modes of a perfect plate are not coupled, a real plate-like body will contain imperfections and inhomogeneities which lead to a coupling of the different modes.
• vibration energy will be transferred from the in-plane vibration mode to the out-of- plane vibration mode.
• any real excitation of vibrations be it with a finger, stick or bow, will always excite different vibration modes.
• the above effects may be exploited to purposely create special sound effects:
• the idiophone may further comprise an inhomogeneity, in particular an asymmetrically arranged mass, on or in the body configured to convert at least the first in-plane vibration mode and/or any further inplane vibration mode to an out-of-plane, in particular to a transversal, vibration mode.
• Such mode conversion may lead to a change of sound, in particular of timbre, over time.
• the inhomogeneity is configured such that converting the in-plane vibration mode to the out-of-plane vibration mode takes place over at least 5 s, in particular at least 10 or 20 s. This leads to a slowly changing sound and may e.g. be used in musical therapy or for meditation.
• first section and/or any further section of the body may be curved.
• first section and/or any further section may protrude obliquely from the plane of the plate-like body.
• the cur- vature and/or the protruding of the section makes it easier to excite a vibration, in particular by one of the above described methods. Further, such geometrical setup may lead to more mode coupling and, thus, more conversion of energy and change of sound over time after excitation.
• the idio- phone further comprises a second plate-like body mechanically fixed to the plate-like body such that an undesired out-of-plane vibration mode is dampened.
• a second plate-like body mechanically fixed to the plate-like body such that an undesired out-of-plane vibration mode is dampened.
• This may e.g. be achieved by mounting the second plate-like body face-to-face and in direct contact with the plate-like body.
• Such mounting will suppress undesired vibration modes if the corresponding nodes and antinodes on the plate-like body and the second platelike body do not coincide.
• the second plate-like body may advantageously differ from the plate-like body in at least one of the following aspects: elastic properties of the body, a material of the body, dimensions, in particular a transversal dimension, e.g. thickness, of the body, and/or a shape of the body.
• the idiophone additionally comprises a sound amplifier. This is particularly useful for an idiophone with a small radiating surface. If, for instance, the idiophone is made of a flat plate, in-plane vibrations will only be radiated, i.e. transmitted to a surrounding medium, e.g. air, via relatively thin end faces at the edges of the plate. Without amplification, in-plane vibrations will, thus, only generate a low sound.
• a sound amplifier This is particularly useful for an idiophone with a small radiating surface. If, for instance, the idiophone is made of a flat plate, in-plane vibrations will only be radiated, i.e. transmitted to a surrounding medium, e.g. air, via relatively thin end faces at the edges of the plate. Without amplification, in-plane vibrations will, thus, only generate a low sound.
• the sound amplifier comprises at least one of the following:
• an acoustic horn coupled to the body, in particular arranged at an edge of the body;
• the idiophone may e.g. be used in pop music or in a movie sound track.
• a third aspect of the invention relates to the use of embodiments of the above idiophone in one of the following applications: - music therapy: Similar to a gong, a tam-tam or a singing bowl, the idiophone may have advantageous effects on the well-being of patients in music therapy due to its relaxing and meditative sound.
• the idiophone Due to its simplicity and the possibility to be played by hand or with a stick, the idiophone is particularly suitable for children.
• the idiophone may be used in pop music, in particular if electronically amplified.
• This application may be particularly interesting if the idiophone is played with a bow.
• the idiophone may be implemented in a keyboard instrument, in particular wherein the idiophone is struck by a hammer or, respectively, wherein each tuned section is struck by a dedicated hammer.
• Such idiophone may have a similar use and sound as a conventional celesta.
• the idiophone may be plucked by a plucking mechanism or rubbed by a stick-slip mechanism.
• the idiophone may be used to implement the Clavicylinder by Ernst Florens Friedrich Chladni (a bowed keyboard instrument) in a simple manner.
• Figs. 1 to 3 show schematic views of idiophones according to embodiments of the invention
• Figs. 4 to 6 show views onto idiophones according to different embodiments
• Figs. 7 and 8 show a top view and a side view, respectively, of idiophones according to embodiments
• Figs. 9 to 13 exemplify various aspects of idiophones with tuned overtones according to embodiments
• Fig. 14 shows an idiophone with tuned overtones according to an embodiment
• Figs. 15 to 17 illustrate different ways of playing an idiophone according to embodiments of the invention
• Figs. 35 and 36 show two idiophones with curved plates according to embodiments of the invention;
• Fig. 37 shows a detail of the idiophone of Fig. 36.
• Fig. 2 shows a schematic view of a simple idiophone with a platelike body 21 that, again, comprises a first section 22 having an in-plane vibration mode tuned to a first frequency.
• the first section 22 in Fig. 2 is defined by an internal cut 23 in the body 21 such that the edges of the first section 22 do not abut on the edge of the body 21.
• in-plane vibrations such as indicated by the arrow, may e.g. be excited by rubbing over the surface of the first section 22, in particular with a wet finger.
• the sections e.g. the first sections 12, 22, 32 in Figs. 1 to 3
• the restoring force is supplied by the elasticity of the mechanical connection between first section and body.
• the mechanical connection between first section and body serves as a spring element and provides the restoring force for vibrations of the first section.
• the frequency of the vibrations, in particular of the sound depends on both, the restoring force and the mass of the section. These parameters, in turn, depend on the dimensions, in particular length, width and thickness, of the section as well as, via the material strength, on the type of material.
• the frequency of the in-plane vibration mode is largely independent of the thickness of the plate-like body.
• the plate-like body may have a thickness of e.g. 1 mm, 2 mm, 3 mm, 5 mm or up to e.g. 10 mm, and the frequency of the section with the same shape remains unaffected. This is different for transversal vibration modes which strongly depend on the thickness and mass of the vibrating section, see for instance a vibraphone whose bars may be tuned by adding or removing material.
• a pattern, in particular for cutting the plate-like body can be designed and optimized once and then re-used for plate-like bodies of different thicknesses and materials. This is particularly advantageous in view of the great effort of tuning not only the fundamental but also overtones of the first and any further sections, which is a delicate undertaking as e.g. known from tuning a vibraphone with harmonic overtones.
• Fig. 4 shows an example of the idiophone.
• a plate-like body e.g.
• a rectangular plate 41 comprises a first section 42 and a second section 44, both made from the plate and within the plate 41, such that the edges of the first and the second section do not abut on the edge of the plate 41.
• the first section 42 and the second section 44 are connected with the rest of the plate 41 via spiralling elements 43 and 45, respectively.
• the spiralling elements 43 and 45 allow for and provide the restoring force for vibrations of the first and second section 42, 44 relative to the rest of the plate 41.
• the spiralling elements 43, 45 may be designed to provide similar or, alternatively, specifically differing restoring forces for different in-plane vibrations.
• the idiophone of Fig. 4 may be played by exciting in-plane vibrations by rubbing a wet finger, or in general a stick-slip device, over the surface of the first and second section 42, 44.
• the oval shape of the sections as well as the rounded outer edges of the plate 51 make such idiophone simple and smooth to play as well as aesthetically appealing.
• the idiophone may be played by exciting in-plane vibrations by rubbing a wet finger, or in general any stick-slip device, over the surface of the sections.
• Fig. 6 shows an example of the idiophone made from an oval plate 61 with oval sections, e.g. section 62. While the idiophone of Fig. 5 is designed to be excited by linear movements of a stick-slip device over the different sections, the idiophone of Fig. 6 is designed such that in-plane vibrations may be excited by a tangential (linear) rubbing on the section but also by circular or elliptical movements of the stick-slip device on the section. This makes the idiophone more variable in terms of modes of playing. In particular, playing the idiophone with circular or elliptical movements may have a meditative effect on the player.
• Fig. 7 shows an example of the idiophone which may be termed “sound palette”.
• a plate 71 e.g. made from metal, with essentially oval shape comprises several outer sections, e.g. sections 72 and 73 abutting on the outer edge of the plate 71, as well as an optional opening 74.
• the sections are defined by cuts in the plate 71 and exhibit different lengths but similar shapes. By adjusting the length and course/shape of a cut, the sections adjacent to the cut may be tuned, i.e. the frequency of their in-plane vibration mode(s) may be adjusted. Since the sections abut on the outer edge of the plate 71, they may be played by bowing over their edges in an essentially in-plane direction, see e.g. Figs. 15 and 16.
• the opening 74 facilitates a simpler holding of the idiophone, e.g. in the way that the player fixates the idiophone by putting his/her thumb through the opening 74.
• the idiophone may further comprise an acoustic horn 75, e.g. made from plastic, wood or metal, attached to the plate 71.
• the acoustic horn 75 amplifies the sound of the in-plane vibrations.
• Such acoustic horn may, in general, be attached to any of the shown idiophone examples. Size, material and shape of the acoustic horn are advantageously designed to match the idiophone, in particular to match the range of the tuned frequencies.
• the acoustic horn may be attachable and removable, in particular by hand, to/from the idiophone, e.g. via a clamp configured to be clamped on the idiophone.
• Fig. 8 shows a side view on an idiophone according to the invention.
• the idiophone comprises, and in particular is made from, a plate-like body 81.
• the idiophone comprises a handle 82, e.g. made from plastic or wood, attached to the body 81 and in particular protruding transversally from the body 81.
• handle 82 may in particular be implemented on the idiophone of Fig. 7.
• the handle 82 facilitates holding the idiophone by the player in one hand.
• Figs. 9 to 13 illustrate different aspects of tuning overtones in schematic top views of a homogeneous, tuned bar having one fixed and one loose end in an idiophone with tuned in-plane vibrations.
• Figs. 9 to 11 show overlays of several snapshots of the vibrating bar, i.e. the “section” according to the above name convention, that is attached to and in particular part of a plate-like body through fixed connection 91.
• Figs. 9, 10 and 11 depict the in-plane vibration modes of the 1 st partial tone (fundamental), the 2 nd partial tone (1 st overtone) and the 3 rd partial tone (2 nd overtone), respectively.
• the 1 st partial tone (Fig. 9) has one node 91 and one antinode 92.
• the 2 nd partial tone (Fig. 10) has two nodes 91, 93 and two anti-nodes 92.
• the 3 rd partial tone (Fig. 11) has three nodes and three anti-no
• Fig. 12 summarizes the previous Figs. 9 to 11 and adds the 4 th partial tone (3 rd overtone) in that it shows the nodes of particle motion in the in-plane vibration modes of the partial tones 1, 2, 3 and 4.
• the frequency ratios of the four lowest partial tones to the fundamental i.e. the 1 st partial tone
• idiophones in general, do not automatically have a harmonic overtone spectrum like a string or an air column. If a section is chosen arbitrarily and the 1 st partial tone, i.e. the fundamental tone, is tuned, the higher vibration modes typically occur in dissonances (e.g. intervals like a second, a triton, a seventh, etc.) or not precise consonances (thirds, fifths, sixths, octaves). These vibrations do not interfere if the 1 st partial tone is in the high frequency range (as e.g. the case with chimes). If the fundamental tone is in the middle and low frequency range, this will be perceived as disturbing. This is also the reason why conventional vibraphones are tuned with respect to two overtones in addition to the fundamental. Such process is complex, both for instruments with transversal waves (e.g. vibraphone, marimba) as well as for the idiophones discussed here.
• dissonances e.g. intervals like a second, a
• each of the 2D shapes, e.g. the plates and cut patterns as presented above, of the idiophone according to the invention may be varied in size and in particular tuned to a defined fundamental frequency through computation, e.g. by a finite-element simulation.
• the ratio between overtones and fundamental is constant irrespective of the 2D shape’s size.
• the type of material influences the frequency. Further, a significant change in the “counter-mass”, i.e. the rest of the plate-like body apart from the section(s), may lead to the need of fine-tuning the frequencies.
• any 2D shape always sounds the same, whether executed, for example, in 3, 4 or 5 mm plate thickness (except in the case of extreme thickness variations).
• This has the advantage that fluctuations in the thickness of the plate of the starting material do not play a role.
• Only the precision of the cutting machine that cuts the 2D shape is decisive for the consistency of the pitch in production. This means that, if overly filigree structures are avoided, the pitch can be achieved with practically no need for retuning with today's laser/waterjet cutters.
• Fig. 14 illustrates an idiophone comprising a plate 141 with eight sections 142 defined in the plate by cuts.
• the fundamental tones (1 st partial tones) of the sections 142 form a major scale, e.g. in C major. All sections 142 exhibit the same 2D shape.
• the shown 2D shape has an optimized harmonic overtone spectrum in the sense that the frequency ratio between 1 st overtone and fundamental is 1/8, i.e. 3 octaves.
• the present idiophone achieves a pleasant, since harmonic, sound.
• Figs. 14 and in general any idiophone according to the invention having tuned “outer” sections 152 abutting on the edge of the plate 151 may e.g. be played by bowing over the edges of the sections 152 with a bow 153, e.g. a conventional string bow, or by striking on the edges, e.g. with a stick 154 or a damped hammer.
• Bowing over the edges, as depicted in Figs. 15 and 16 needs to be performed essentially in the inplane direction in order to predominantly excite in-plane vibrations of the sections.
• striking on the edges, as depicted in Figs. 15 and 17 needs to be performed in the in-plane direction, again, in order to predominantly excite in-plane vibrations of the sections.
• Fig. 18 shows an example idiophone which may be termed “percussion plate”. It comprises a plate 181, e.g. a metal plate, which may be hung up by a cord 182. Further, the plate 181 comprises a variety of sound elements 185-189 that are formed by cut 2D shapes as described in the previous examples. As depicted, each of the sound elements, has at least one section of which at least one in-plane vibration mode is tuned.
• a sound element e.g. element 186, comprises more than one tuned section.
• 186 may be tuned as a scale or in harmonic intervals.
• the sound elements 185-189 are designed such that they may be played by striking a stick on an edge of the corresponding section, in particular in the in-plane direction. This is illustrated in the side view of Fig. 20, in which the stick 200, advantageously with an elongate cylindrical head made of felt in order to compensate for playing imprecisions, is inserted in an opening of the plate 181 belonging to one of the sound elements, e.g. element 189, and then struck onto the corresponding tuned section.
• Another advantageous sound element such as elements 186 and
• the “percussion plate” idiophone advantageously comprises an acoustic horn 183, as described above, for amplifying the excited vibrations of the plate 181.
• Figs. 19 and 20 show side views onto the slim side of plate 181 of the “percussion plate” idiophone.
• plate 181 comprises two essentially parallel plates that are attached to each other, e.g. via one or more screws 192. This leads to a damping of undesired transversal vibration modes.
• the two plates are held together by a clamp 191 as fixation element such that the two plates directly abut on each other. This leads to a strong damping of transversal vibration modes.
• a wedge 183 may be restrained between the two plates. Since the two plates, in this case, do not abut on each other over their whole area, this allows more conversion of vibration energy from in-plane vibrations to transversal vibration modes. Thus, the latter embodiment has less damping and shows a reverberant sound.
• Figs. 21 and 22 show a top view and a vertical cut, respectively, of a chromatic idiophone that is intended to be played by a bow 215 or bow stick while held on the player’s left forearm.
• the idiophone comprises two plates 211 and 212, e.g. made of metal, that are fixed to each other, e.g. by screws or rivets.
• the two plates may be fixed to each other with their surfaces in direct mechanical with each other. Due to the different shape and size of the plates 211 and 212 and, thus, different locations of nodes of the transversal vibrations modes, such arrangement, in general, leads to a suppression of transversal vibration modes. This, in turn, leads to a longer vibration and sound duration of the in-plane vibrations modes.
• the plate 212 advantageously comprises a multitude of sections tuned e.g. according to the white keys of a regular keyboard.
• the plate 211 advantageously comprises a multitude of sections tuned e.g. according to the black keys of a regular keyboard.
• the sections of the idiophone may be tuned to a chromatic scale, which allows to play a large variety of music pieces on the idiophone.
• Changing between black and white keys is better understood from Fig. 22 which depicts a cut through the idiophone of Fig. 21 along the dashed line A1-A2.
• the change between black and white keys may be performed by the player by changing the angle between the bow 215 and the plates 211 and 212, not unlike the changing between strings on a violin.
• idiophone include an acoustic horn 213, as described above, and a recess 214 for the player’s inside of the elbow for an easier holding of the idiophone, see Fig. 21.
• a thumb holder 216 may be mounted to an underside of plate 211, see Fig. 22.
• the thumb holder 216 comprises a hole for receiving the player’s thumb and, thus again, a more comfortable holding of the idiophone.
• the idiophone may advantageously comprise a damping lever for damping vibrations in the sections according to the player’s will.
• the damping lever 217 shown in Fig. 22 is hinged on plate 211 by hinge 221 and comprises damping elements 218 and 219, e.g. made from felt, for the black and the white keys, respectively.
• the damping lever may comprise an operating lever 220 for a finger of the player.
• Figs. 23 to 25 shows an example idiophone that, in particular regarding the way of playing, resembles a metallophone, in particular a vibraphone.
• the idiophone comprises a front plate 231 (visible in both, the front view of Fig. 23 and the side view of Fig. 24) comprising sections with tuned in-plane vibration modes.
• the sections of the front plate 231 are tuned according to the white keys of a regular keyboard.
• the idiophone comprises a back plate 232 (visible in the side view of Fig. 24) comprising, again, sections with tuned in-plane vibration modes.
• the sections of the back plate 232 are tuned according to the black keys of a regular keyboard.
• the plates 231 and 232 may be made from metal, and they are advantageously mounted to a frame 235, e.g. made from wood.
• the tuned sections are typically hit on their edges with a stick 239 (see Fig. 24), e.g. as described with respect to Fig. 20.
• the idiophone advantageously comprises one or more acoustic horns 233, 234 for sound amplification.
• An advantageous attachment of the acoustic horns 233, 234 is illustrated in Fig. 25.
• a sound pickup body 240 e.g. in conical shape, is restrained between plates 231 and 232.
• the pickup body 240 is configured to pick up the in-plane vibrations (depicted as arrows) from the plates 231 and 232 and to transfer them, via connector 241, to the acoustic horn 233/234 from which they are emitted as sound waves in a direction transversal to the plates 231 and 232 (again, depicted as arrows).
• the different-size acoustic horns 233 and 234 are adapted for different frequency ranges.
• the idiophone may comprise a damping unit comprising a damping pedal 236 in mechanical connection with a damping lever 237 on which damping elements 238 for the sections on plates 231 and 232 are mounted.
• the damping unit is configured such that, upon an action of the player on the damping pedal 236, the damping elements 238 contact the sections and dampen the vibrations of the sections.
• the described idiophone may be played and used in musical pieces similar to a vibraphone. However, it typically has a different and particularly appealing timbre, and it is simple to manufacture and in particular to tune. As explained above, tuning, and in particular overtone tuning, is, in general, simpler for idiophones relying on tuned in-plane vibration modes since manufacturing tolerances affect the frequency of the tuned in-plane vibration mode less than in case of a tuned transversal vibration mode.
• Figs. 26 to 28 show an idiophone made from a plate 261, e.g. a metal plate, that is attachable to a conventional tam-tam or gong 262. While the tamtam or gong 262 is typically designed for and mainly relies on transversal vibration modes, e.g. as excited by striking on the gong with a stick, the idiophone, again, comprises sections whose in-plane vibration modes are tuned and predominantly excited, e.g. by bowing over the section edges with a bow 265 or bow stick, see Fig. 28.
• the idiophone may be attached to the gong 262 via a clamp 264, e.g. comprising a screw for a reversible and damage-less mounting of the idiophone, see Fig. 27 which illustrates a horizontal cut through the arrangement of Fig. 26.
• the idiophone plate 261 when attached, forms an angle of between 45° and 135°, in particular approximately 90°, with the main flat surface of the gong 262.
• Such angle facilitates that a large part of the vibration energy in the in-plane vibration modes of the idiophone plate 261 are converted to transversal vibration modes of the gong 262.
• the sound excited on a section of the idiophone changes over time towards the sound of the gong, in particular leading to the perception of a special reverberant sound.
• Figs. 29 to 31 schematically show elements of an idiophone that may be played similarly as a celesta, in other words a bell-piano.
• the idiophone comprises two plates 291 and 292, e.g. made of metal, each with a multitude of sections whose in-plane vibration modes are tuned to specific frequencies.
• the sections of both plates may be tuned according to whole tone scales but shifted relative to each other by a half tone such that, by both plates 291 and 292 taken together, a chromatic scale is covered.
• the sections advantageously comprise protrusions 293 (see Figs. 29 and 30) adapted to be struck by a hammer 296, in particular one hammer per section (see Fig. 31).
• the hammers 296 are adapted to be controlled by keys 297, in particular through mechanical interaction. In this way, the idiophone can be played via a keyboard comprising the keys 297 in a similar way as a celesta or piano.
• the plates 291 and 292 are mounted in mechanical contact with each other, in particular with their surfaces directly abutting on each other (see Fig. 30). As explained above, this leads to a suppression of transversal vibrations and, thus, a longer and clearer sound because the nodes of the vibration modes in the two plates do not coincide due to their different size and shape.
• a further advantageous feature of the idiophone is the acoustic horn 295 mounted to at least one of the plates for sound amplification.
• Figs. 32 and 33 show a further advantageous feature of the above idiophone: a sound box or sound board 321.
• the sound board 321 may be in mechanical contact with at least one of the idiophone plates 291 and/or 292 in the sense that vibrations from the plate(s) are transferred to the sound board.
• the sound board is configured to amplify the vibrations and, thus, the sound, in particular in a frequencydependent manner.
• An advantageous sound board that amplifies lower frequencies more than high frequencies and, thus, leads to an appealing “round” sound is made from wood. Other materials may be used for the sound board in order to achieve other timbres. Further, Figs.
• the sound box or sound board 321 may be arranged in contact with the plates 291 and/or 292 at different contact points. Since different modes of the sound board (or box) have their nodes and anti-nodes at different locations in the sound board (or box), changing the contact point may lead to a selective amplification or damping of specific vibrations of the instrument.
• Fig. 34 shows a schematic view of an idiophone, in particular the idiophone of Figs. 29 to 33 or any of the other shown examples, with plates 291 and 292 that comprise sections with tuned in-plane vibration modes.
• a sound pickup 341 may be coupled to the plate(s), e.g. via a clamp, a screw or a rivet 342.
• the sound pickup is configured to pick up vibrations of the plate(s) and to convert them to electronic signals that may be communicated to an electronic audio system, such as an amplifier or a recording system.
• Figs. 35 and 36 show two example idiophones in which the platelike bodies, i.e. the plates 351 and 361, are curved. Both plates 351 and 361 comprise sections 352 and 362, respectively, with tuned in-plane vibration modes and are advantageously made from metal. In particular, the different sections may be tuned relative to each other according to a specific scale as described above.
• the plate 351 is circular with a convex shape and mounted to a basis, which may also be made from metal.
• the curvature of plate 351 may be concave and/or the plate may e.g. be elliptically shaped.
• the plate 361 forms a hollow cylinder. Such idiophone may e.g. be made from a pipe.
• the idiophones of Figs. 35 and 36 are advantageously played by rubbing a stick-slip device, e.g. the player’s wet finger, over the surface of sections 352 and 362. Note that this, again, is in contrast to conventional handpan, tongue drums or chimes that are transversally struck, e.g. by a stick or the player’s hand.
• a stick-slip device e.g. the player’s wet finger

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• 2023
  • 2023-01-27 WO PCT/EP2023/052027 patent/WO2024156363A1/en not_active Ceased
  • 2023-01-27 EP EP23702437.7A patent/EP4631038A1/de active Pending

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