FIELD OF THE INVENTION
[0001] The invention relates to percussion instruments which are adapted to create a vibrato
phenomena.
BACKGROUND OF THE INVENTION
[0002] In order to have a better understanding of the invention, the following definitions
are provided:
"Vibrato" is a phenomena wherein a low pitch frequency is introduced which modulates
the whole of the spectrum of a musical sound.
[0003] Vibrato can also be defined as an effect wherein the frequency of a note or sound
is quickly and repeatedly raised and lowered in a periodic or oscillating manner.
In this invention some embodiments will raise the number of overtones as the instrument
flexes or oscillates, thereby creating a periodic rise and fall in amplitude as well
as frequency.
[0004] The rate of change in frequency, and the amplitude of the modulation all affect the
character of vibrato. Vibrato can be quite subtle or quite pronounced. When the frequency
of vibrato exceeds 20 cycles per second, it begins to be perceived as a note rather
than a vibrato. Nonetheless, within the context of this invention, the same designs
are present in such embodiments with higher frequency vibrato notes.
[0005] "Vibrato based instrument" is a hybrid percussion instrument in which the vibrato
produced can be the most noticeable characteristic of the instrument.
[0006] While such instruments can be played in ways which minimize said vibrato, the instrument
is capable of producing a vibrato of sufficient amplitude as to become the feature
which sets the instrument apart to the greatest degree.
[0007] "Heat affected zone" is an area in a section of metal where heat has been applied
which has altered the shape, crystalline or grain structure, hardness, rigidity, sound
conductivity, elasticity, or other properties of said section. The effect of heat
affected zones can be relatively limited in area or can affect the surrounding areas.
The results of heat affected zones vary greatly depending on the alloy, thickness
of section, shape of section and the staring temper or hardness of a given section.
[0008] "Overtones" are heard as simpler or individual tones or frequencies which when combined,
make up the whole of a musical sound. The sum of simple sounds such as sine waves,
rising and falling in amplitude and frequency can produce a complex sound. In cymbals
and vibrato instruments, there is often a complex matrix of overtones comprising the
whole.
[0009] "Swell" is a term in music and in describing cymbal and gong sound whereby sound
grows in time from low to high amplitude. In cymbals, gongs and hybrid instruments,
a rise in the frequency and complexity or number of overtones accompanies the rise
in amplitude.
[0010] "Hybrid Instrument" (for purposes of this invention) is an instrument which, due
to specific forming techniques, shapes, and materials, is capable of producing sounds
similar to both cymbals and gongs.
[0011] "Attack" is the sound heard immediate after the striking of a percussion instrument.
The attack is also defined as amount of time it takes for the sound of a percussion
instrument to reach full volume or amplitude after a single strike. An instrument
with a large amount of swell (such as a large gong struck with a soft mallet) would
have a slow attack. An instrument such as a bell struck with a metal clapper or a
triangle would have a fast attack.
SUMMARY OF THE INVENTION
[0012] This invention comprises the creation of a percussive musical instrument class which
increases the volume (amplitude) of vibrato and can lower vibrato frequency-(to subsonic
levels if desired) to create a pronounced vibrato effect which can serve to modulate
the whole or composite sound of the instrument.
[0013] While such instruments can be played in ways which minimize said vibrato, the instrument
is capable of producing a vibrato of sufficient amplitude as to become the feature
which sets the instrument apart to the greatest degree.
[0014] A wide range of vibrato frequencies can be achieved with various embodiments of the
invention from subsonic or very slow to medium range frequencies of hundreds of cycles
per second using the frequency controlling factors described.
[0015] The vibrato can be of a singular oscillating sound or a complex series of "compound
vibrato" sounds which simultaneously vibrate at differing frequencies.
[0016] The amplitude and overtone structure of the instrument can also vary according to
described designs.
[0017] The result in all these cases is a novel musical instrument in which the vibrato
can range from subtle to quite pronounced. In some embodiments of this invention,
the vibrato is so pronounced as to become the central focus of the musical sound heard.
Material:
[0018] The preferred material will be of considerable elasticity. It will thus resist permanent
deformation during vigorous striking. The material will however be easily deflected
or temporarily flexed. This ease of flexing without permanent deformation is critical
to the design of the invention. Metal possessing these qualities performs very well
but other materials such as plywood, hard plastics, and composites also are capable
of producing a form of the effect described.
Shape of the invention and location of suspension area:
[0019] The shape of the instrument is critical to the invention. The invention can be initially
formed from material in the shape of a flat plane. The material is then bent, or formed
into a shape which takes one or more specific curves along said plane.
[0020] A slight, partial dome shape, seen as a slight secondary curve in directions other
than the primary curve, is an acceptable feature, but a more pronounced (primary)
curve will exist in a single direction to produce the distinctive "vibrato" of this
invention. As said secondary curves become more pronounced, the resulting increase
in general rigidity will raise the frequency and can reduce amplitude of the vibrato.
This can be useful but if the secondary curves become too pronounced, the vibrato
effect will be obliterated.
[0021] An even dome or semi-sphere (such as is found in cymbals) is found to be too rigid
to create the vibrato mentioned.
[0022] When the form is a shape which is curved along one plane in a pronounced, two dimensional
curve, this curve produces one mode of vibration of considerable amplitude and low
frequency, and a pronounced vibrato effect can be achieved.
[0023] Tests show that the primary curve which causes a simple flexing motion favors a limited
number of frequencies in the low spectrum. This oscillating flexion is the cause of
the vibrato effect in this invention. When viewed from a frontal view or silhouette
view, any shape can be used for this invention as long as the primary curve mentioned
above as seen from a side view or top view features a considerably smaller radius
(i.e.: deeper curve) than other curves or secondary radii. This curve is more visible
from a side or top view than from a frontal view.
[0024] This invention has clearly defined nodes (areas of less vibration). The major nodal
area relating to the fundamental tone which produces the vibrato is centered around
an area which exists at a ratio of 23 percent of the length of the instrument. This
nodal area is the preferred area to create holes for suspension.
[0025] Hence a 10" long instrument would ideally have one or more suspension holes at 2.3
inches from the end of the instrument. Deviation from this area to a small degree
is acceptable but as the suspension point proceeds away from the nodal area, the vibrato
effect has been found to become progressively less prominent and will eventually be
obliterated.
[0026] In embodiments using flexible suspension members such as cord, where maximum amplitude,
sustain and high frequency response are desired, the cord should extend upward along
the CONVEX side of the curved instrument so that said cord only touches the instrument
at the nodal area.
[0027] While nodes in percussion bars and bells are known in prior art, the discovery of
suspension from the nodal area in combination with the primary curve to produce vibrato
is an unexpected result unique to this invention. The location of suspension holes,
striking method and the point on the invention struck have a marked effect on the
amount of vibrato produced.
[0028] This invention has clearly defined antinodes (areas of greater vibration). Striking
these areas excite the fundamental low frequency of the invention and hence produce
a marked vibrato effect. The antinodes of this invention are located at both ends
and also the center of the instrument. The ideal striking areas, when maximum amplitude
of vibrato is desired, are the middle and either end. These areas represent antinodes
(areas of high amplitude vibration) of the instrument.
[0029] A novel feature is that striking the invention in the nodal area from where the instrument
is ideally suspended produces very little vibrato. This can be a useful area to strike
as it can produce sounds similar to a cymbal when played with drumsticks. Striking
in areas in between the nodal area and the antinode produce differing degrees of amplitude
of vibrato. The ability to produce such changes in sound character instantly add to
the potential for musical expression when playing this invention. When striking near
the nodal area, bronze versions of this invention yield high frequencies similar to
those heard in cymbals when played with drumsticks.
[0030] The type of striking tool used has an effect on vibrato amplitude. Marked vibrato
effects can be produced by striking with the hand, or soft mallets. Drumsticks can
also produce the vibrato effect. The edges of the invention can be played with triangle
beaters at an acute angle to the edge to produce very high frequency longitudinal
vibrations.
[0031] Large versions of this invention are also easily played with a violin bow to produce
high frequency sounds.
[0032] One of the functional differences between this invention and a gong is the functional
musical sound arising from this invention when played with drumsticks and bare hands.
The prominent mid to high frequency overtone structure of many types of vibrato instruments,
as well as their flexibility yields an instrument class which is easily played by
drummers and percussionists alike.
Method and materials of suspension:
[0033] The invention can be suspended in two basic ways:
[0034] Suspension by means of any flexible member such as a cable, cord, spring, or chain
can be used to suspend the invention. Suspension materials of the lowest possible
mass will create the least dampening of vibration and result in the broadest overtone
spectrum, general loudness or amplitude, and the longest sustain.
[0035] Suspension from any rigid member whereby the invention is attached directly to a
stand such as a cymbal stand can still result in the vibrato effect, with reduced
amplitude, high frequency response and a shorter sustain time. In such an embodiment,
the instrument can feature a single mounting hole in the middle of the nodal area
to facilitate balance when mounting rather than 2 holes or hooking devices which would
normally be used for a suspended or hanging version of the instrument.
[0036] Both these methods can be useful in various musical passages.
Compound or multiple curves and their effect on vibrato:
[0037] When raw material of any given length is curved along a singular primary curve, the
use of said singular primary curve will produce the lowest frequency vibrato, however,
a useful feature of multiple primary curves is that they can produce multiple vibrato
modes of differing frequency simultaneously.
[0038] One such multiple curve configuration could be an S-shaped curve.
Frequency shift coinciding with vibrato:
[0039] A periodic, oscillating shift in frequency and complexity of overtone structure occurs
in this invention. The rate of shift in phase and overtone frequency is directly related
to the frequency of the vibrato. As the invention flexes during a given cycle of vibration
of the vibrato frequency, it becomes stiffer and produces higher frequency overtones.
As it relaxes, it becomes less stiff and shows a reduction in frequency of overtones.
The phase relationships of said overtones also changes during this periodic flexing,
resulting in a highly complex overall sound.
[0040] Large embodiments of the invention, since they vibrate in more complex modes and
yield a greater number of overtones, demonstrate this effect quite audibly.
Increased overtone complexity arising from slots, and cantilevers resulting from slots,
and holes:
[0041] The creation of slots cut through the cross section of the metal, whether open ended
(which sever the edge of the instrument and create cantilever sections) or closed
slots which remain inside the perimeter of the instrument and do not sever its edge,
or one or more holes in the instrument add overtone complexity by creating addition
modes of vibration. The location of these alterations affects the frequency, amplitude,
and overtones structure of the instrument.
Change in mass at key points to alter frequency of vibrato, amplitude, and overtone
structure:
[0042] The addition of weight at key points in the instrument can alter the frequency of
vibrato and alter overtone structure, overall amplitude, and sustain of sound.
[0043] One method is to weld weights to the upper and lower ends of the instrument. The
addition of weight at the ends will cause the instrument to oscillate at a different
frequency of vibrato. In certain embodiments, addition of weight to upper and lower
ends can increase overall loudness or amplitude. Depending on the design of weights,
amplitude can be substantially increased by said addition of weights.
[0044] The weights can be bell or dome-shaped metal members which, while adding weight also
ring or vibrate independently. Said bells or domes, when struck will also excite the
main body of the instrument in sympathetic vibration, which adds a rich musical character
to the sound of the bells. Similarly, striking the main body of the instrument will
also excite the bells in sympathy. Another unexpected phenomena unique to this invention
is that the main body of the instrument can cause a musically pleasing vibrato effect
with the bell-weights themselves during the periodic flexion of said main body. As
the bells excite overtones within the main body of the instrument, the main body flexes
which will raise and lower the frequency of said overtones in a manner which sounds
like bells with a wide range of vibrato.
[0045] Another method of sound alteration is to suspend a removable weight from a cord or
cable in the back of the instrument. Such a removable weight can be replaced by weights
of differing mass for various changes in frequency of vibrato.
[0046] Another method is to fold metal at each end from a longer blank piece to form an
instrument with added weight at each end. Such an instrument will have a lower frequency
of vibrato and altered overtone structure.
Change in rigidity and mass and its effect on frequency, amplitude, and overtone structure:
[0047] Rigidity and mass of the section of material used to manufacture this invention directly
affects the frequency of both the vibrato, and the overtones. The area where rigidity
is altered greatly affects the amount and direction of change in frequency. Select
areas can be made more or less rigid, resulting in pronounced changes in sound.
[0048] If the material is thinned by machining, milling, skiving, lathing, etching, or compressive
thinning of the metal along a line, creating a groove, or the section is made narrower
in the middle, that area becomes less rigid. If such a groove or narrow area bisects
or crosses this invention across the middle area, the reduction in general rigidity
will result in a lowering of frequency of vibrato and an alteration in overtone structure
and amplitude. Grooves in other areas would affect a different type change in frequency
and overtones. In thicker gauge vibrato instruments such grooves can result in a more
pronounced vibrato, as well as a louder and longer sustaining instrument, as well
as a novel change in overtone structure. If structural ribs or other shapes which
stiffen the middle area are formed in or welded to this invention, an increase in
vibrato frequency occurs.
Zones of altered rigidity and hardness:
[0049] If isolated areas of the invention are altered in shape by dents, ribs, ridges, valleys,
or other deviations from a smooth surface, the overtone structure of the instrument
can become more complex. Such zones or areas can be created by hammering, pressing,
forming or other shaping method which either compress or elongate the metal. Such
operations can also alter the hardness and grain structure of the metal.
[0050] These areas of altered shape and hardness provide zones of differing rigidity and
alter the vibrational characteristics and hence the overtone structure of the instrument.
The general amplitude of the instrument can increase by the creation of said alterations
to the instrument. The exact location, size, depth, and shape all affect the sound
of the instrument in complex ways, some of which are virtually impossible to completely
quantify, but in general, such zones increase overtone complexity, and can alter overall
amplitude.
[0051] Another sound alteration method (which can be combined with the aforementioned forming
methods is the creation of heat affected zones. If isolated zones of the metal instrument
are subjected to heat treatment which can stress relieve, soften, harden or otherwise
alter the grain structure of the metal, the overtone structure can be altered. In
many alloys tested, such heat affected zones can add complexity to the overtone structure,
increase general amplitude, and increase high frequency response of the instrument.
[0052] Depending on the alloy used, various forms of heat treating can be combined with
said forming and surface shaping methods to achieve a desired sound.
[0053] Compressing or shrinking of formed alterations in surface can add complexity to the
overtone structure.
[0054] Each general size and shape of instrument reacts differently to said alterations
in ways that are virtually impossible to quantify, but instruments with such altered
zones have a richer, more complex, and a more musically functional sound than instruments
with a smooth, uniform metallic surface.
[0055] When isolated areas within a larger area of a metal percussion instrument are formed,
hammered, heat treated, compressed, or otherwise altered, the sound propagation characteristics
of the instrument are altered. One noticeable change is evident in the overtone structure
of the instrument.
[0056] When a metal percussion instrument is hammered, shaped, or formed in a manner which
creates a textured surface of multiple differing thicknesses, the complexity and number
of overtones increases. The overall change in sound is quite complex but is universally
regarded by musicians as being "more musical".
[0057] When a metal percussion instrument is hammered, shaped, or formed in a manner which
creates a wavy or uneven surface, the complexity and number of overtones changes.
When the surface is formed into many random and deeply shaped dents, bumps, ridges,
or depressions, a reduction in the presence of the highest frequency overtones occurs.
[0058] While it is known that some of the aforementioned methods of surface alterations
could add overtone complexity in cymbals, the unexpected and useful result is that
the modulating effect of the vibrato, with its constant shifting of this heretofore
unforeseen range of frequencies (resulting from the surface alterations) provides
a decidedly interesting effect never before anticipated in prior art where simple
strips of plain surface metal were shaken of struck to produce a percussive sound.
This invention is capable of producing a sound complexity which actually can exceed
that of cymbals and gongs.
Orientation of the primary curve:
[0059] Suspended versions of this invention can be curved in a manner which either present
the primary curve being most visible from the top or from the side. The embodiment
of the invention which produces the most pronounced vibrato features a primary curve
which is visible from the side.
Nickel-iron grain refiners in bronze percussion instruments:
[0060] Ductility and strength are necessary to form the shapes in this invention. In many
alloys, the metal is quite ductile (easily deformed without cracking or failure) when
in the soft or partially softened state. These softer states of metal, while quite
ductile, are not as strong as the hardened levels of temper in any given alloy.
[0061] Temper ratings of certain alloys, especially those which are strengthened through
cold work methods such as rolling, hammering or other methods which can reduce the
thickness of said metal and reduce grain size and elongate the grain structure of
the alloy, are rated by the percent of elongation remaining in the alloy before the
metal will fail in tension.
[0062] Phosphor bronze is hardened and strengthened by cold work. Phosphor bronze alloys
are typically composed of copper, tin and a small amount of phosphorous.
[0063] A typical phosphor bronze, when hardened to a strength rating of extra spring temper,
can only be elongated by an additional 2% before failing and breaking or cracking
in tension.
[0064] The addition of small amounts of iron and nickel can refine and reduce grain size
and hence, increase strength. Through the addition of said iron and nickel, ideally
in ranges of between .05 to .20% each, can increase strength considerably. By utilizing
these grain refiners, a temper with more elongation remaining in the alloy can be
used.
[0065] A temper rating of extra hard in such an alloy, will possess strength equal to extra
spring in a typical bronze alloy. This extra hard temper can be elongated considerably
more than extra spring temper hence allowing the deformation needed to easily form
this invention.
[0066] In short- the softer, a more ductile temper of grain refined bronze can be stronger
than a hard, more brittle temper of traditional bronze.
[0067] While nickel iron grain refiners are known to increase low tin bronze strength, they
are not known to increase sound quality. Low tin bronze alloys thought to be to high
pitched, and of narrow range compared to equal high tin alloys in sound quality. The
inventor has found that by using nickel iron grain refiners in low tin, more affordable
and workable alloys, a percussion or cymbal maker can increase taper, use of heat
zones, depth and greater variations of hammering and other processes which create
a structurally more complex instrument to realize a product of superior complexity
of overtone structure, higher strength and a product which lends itself to greater
affordability of quality control. Such processes such as greatly increased tapering
would weaken common alloys but the added strength provided by nickel iron grain refiners
allows the use of these special processes and features.
[0068] Many bronze instruments share many vibrational characteristics with cymbals. Advertising
copy from the two largest cymbal manufacturers teaches away from use of low tin alloys
for high quality percussion instruments by mentioning that their own product lines
made of low tin alloys are of affordable, mass produced and identical quality when
compared to their high tin alloy products: reference- Sabian.com advertising in referring
to low tin alloy called B8 phrases point to an image of affordability, "rapid tech
virtual cloning". Limited range of overtone structure is advertised: "focused sound,"
"Lowest possible prices," all teach away from low tin alloys for use in quality cymbals
and percussion.
[0069] The Zildjian company (the leading cymbal maker) advertises "ultra modem crafting
techniques", "higher pitch", "more focused overtones", "identical discs". Such phrases
teach away from very high quality to cymbal and percussion consumers, who regard hand
crafting and a wider range of overtones desirable, as currently described in its Web
site at http://www.zildjian.com/en-US/products/default.ad2.
[0070] Conversely the same companies promote their high tin products as works of art with
centuries old secret processes which yield high quality, all of which begins with
their 20% tin alloy. The use of nickel-iron grain refiners in this invention offers
a method to create new hybrid and vibrato based instrument embodiments of high quality
and novel sound while possessing the superior flexural strength need for this invention.
[0071] In still another embodiment, a vibrato instrument can be configured to be formed
of multiple bends or folds which are progressively sharper toward each end of the
instrument. Essentially, this vibrato instrument can be formed with a series of bends
or folds which serve to make the ends have an increase mass toward each ends while
making the middle area lighter and more flexible. This will increase the amplitude
and decrease the frequency of vibrato.
[0072] To summarize in more specific terms, the invention is a percussion instrument comprising
means for enhancing the effect known as vibrato wherein a primary bend or curve is
permanently formed in the material wherein said primary curve facilitates an oscillating
flexing motion which produces an increase in amplitude of a lowest frequency mode
of vibration. The low pitch frequency modulates the whole of a spectrum of a musical
sound by repeatedly raising and lowering said spectrum of sound in a periodic or oscillating
manner. The instrument can be suspended from one or more points, by means of flexible
members, and the instrument is suspended from one or more points, by means of a flexible
member. The points approximate the nodal area of the lowest frequency mode of vibration
whereby such a location of suspension increases the amplitude of the vibrato the nodal
area being located at a ratio between .15 and .30 times the overall length of said
instrument.
[0073] In one embodiment, multiple primary curves or bends such as S-shaped or wave shaped
bends or curves are provided.
[0074] In another embodiment, the instrument is suspended from one or more points and the
points approximate the nodal area of the lowest frequency mode of vibration whereby
such a location of suspension increases the amplitude of said vibrato said nodal area
being located at a ratio between .20 and .25 times the overall length of said instrument.
[0075] In another embodiment, objects are fused or welded to one or both ends wherein the
objects are adapted or configured and located to lower the frequency of vibrato of
said instrument and/or alter the location of the nodal area and/or alter the overtone
structure, or overall amplitude of said instrument. In a related embodiment, objects
are fused, fastened, or welded to one or both ends wherein the objects are adapted
or configured and located to lower the frequency of vibrato of said instrument, and/or
alter the location of the nodal area, and/or alter the overtone structure, or overall
amplitude of said instrument, wherein the objects act as independent vibrating members.
Examples of such independent members include, but not limited to, domes, cantilevers,
springs, cymbals or bells, and/or conduct vibration between the main body of the instrument
and the vibrating objects (or weights) and are influenced by the oscillating flexion
of the main instrument to create a bell or cymbal sound with vibrato. In another related
embodiment, weight is added to one or both ends or corners by the bending, forming
or folding of one or more ends or corners of the instrument, hence concentrating weight
at the ends, wherein the weight can lower the frequency of vibrato of said instrument,
alter amplitude, and/or alter the overtone structure of said instrument.
[0076] In another embodiment, material in a middle area of the instrument is altered by
means of machining, abrading, etching, forming, hammering or other method of thickness
alteration creating grooves or area of decreased thickness wherein the alterations
increase ease of deflecting and can hence can lower the frequency of vibrato and/or
alter the overtone structure and/or sustain of said instrument.
[0077] In another embodiment, the instrument further comprises one or more heat affected
zones which alter the overtone structure of said instrument and generally alter the
sound character of vibrato by causing a wider range of frequencies to be modulated
by the vibrato effect.
[0078] In another embodiment, the instrument further comprises a series of hammered, formed,
cast, machined, etched, or welded ridges, grooves, dents, raised areas, or general
alterations to the plane of the surface, along said surface of the instrument, in
which said alterations are less pronounced in the middle area, and more pronounced
toward to upper and lower ends of the instrument, hence making the middle area more
flexible and increasing the amplitude and decreasing the frequency of vibrato and
altering the overtone structure of said instrument.
[0079] In another embodiment, the instrument further comprises a folded or flanged, or bent
edge in one or more areas to facilitate increased amplitude of vibrato, especially
when struck at an acute angle to the instrument, and reduce wear on the drumstick
due to the rounded, smooth edge.
[0080] In another embodiment, a welded bead or rib of metal is fused, welded or formed in
to the surface of the instrument in a manner which alters the rigidity, frequency
of vibrato, attack or swell, or overtone structure or adds weight to one or more areas
of said instrument. The beads or ribs are more flexible in the middle area of the
instrument, by means of being of thinner gauge, or being located directionally to
stiffen the upper and lower areas of the instrument more than the middle area.
[0081] In another embodiment, when the instrument is formed, there are formed a series of
surface alterations comprising dents, where the dents or surface deformations are
smaller or more sparsely located in the middle are of the instrument and larger or
more densely located at the top and bottom areas, hence enhancing the vibrato effect
by rendering the middlle area more flexible due to said smaller or more sparsely located
dents.
[0082] In another embodiment, the middle area is narrower than the upper and lower areas
in a manner which lowers the frequency of vibrato and/or alters the overtone structure
and/or the amplitude of the instrument.
[0083] The instrument is made from material comprising of a bronze alloy composed of 6 to
16 percent tin, said alloy containing between .02 to .50 percent each of nickel and
iron for use as grain refining agents, between .005 and .70% phosphorous and less
than 1% total trace elements, and the remainder copper whereby said alloy demonstrates
an increase in flexibility or resistance to permanent deformation due to the addition
of said nickel and/or iron grain refining elements, hence enhancing the ability of
said instrument to produce high amplitude vibrato.
[0084] In another embodiment, the instrument comprises a series of open slots, extending
from the outer edge inward, whereby said slots are of a shorter length in the bottom
and top areas, and of increasing length toward the middle area, hence making middle
more flexible, or a wavy cut which produces the same narrowing effect on the middle
area to increase flexibility.
[0085] In another embodiment, a cymbal or bell and a vibrato section are fused at a common
nodal area, with the nodal area of said vibrato section being located at .15 to .30
times the length of said vibrato section, and the nodal area of the cymbal or bell
being located at the center of said cymbal or bell, wherein the fused sections share
a common mounting hole.
[0086] In another embodiment, a primary bend or curve is permanently formed in the material
wherein said primary curve facilitates an oscillating flexing motion which produces
an increase in amplitude of a lowest frequency mode of vibration, wherein the low
pitch frequency modulates the whole of a spectrum of a musical sound by repeatedly
raising and lowering said spectrum of sound in a periodic or oscillating manner, wherein
the instrument can be suspended from one or more points, by means of flexible or rigid
members, and the points approximate the nodal area of the lowest frequency mode of
vibration where such a location of suspension increases the amplitude of said vibrato
said nodal area being located at a ratio between .15 and .30 times the overall length
of said instrument wherein said instrument is made more flexible in the middle area
in a manner in which said increased flexibility enhances the effect of vibrato.
[0087] In another embodiment, material in a middle area is altered by groups of holes whereby
the holes increase ease of deflecting and can hence can lower the frequency of vibrato
and/or alter the overtone structure of said instrument.
[0088] In another embodiment, the instrument further comprises one or more dented, pressed,
deformed, bent, etched, machined, skived, abraded, compressed, grooved, slotted, folded,
lathed, heat affected, or hammered zones which alter the overtone structure of said
instrument and generally alter the sound character of vibrato by causing a wider range
of frequencies to be modulated by the vibrato effect. The unexpected and useful result
of such a deformation process is that the modulating effect of the vibrato, with its
constant shifting of frequencies provides a decidedly interesting effect never before
anticipated in prior art where simple strips of un-altered metal were shaken or struck
to produce a percussive sound.
BRIEF DESCRIPTION OF THE DRAWINGS
[0089] In the accompanying drawings,
Fig. 1 is a frontal depiction of one embodiment of the vibrato instrument invention
with a circular pattern of holes in middle area of the instrument;
Fig. 2A is a frontal depiction of another embodiment of the invention, with multiple
primary curve portions, in particular, an S-shaped curve and also a secondary curve,
which is slight dome-shaped;
Fig. 2B is a side view depiction of Fig. 2A;
Fig. 2C is a side view of another embodiment of a vibrato instrument according to
the invention;
Fig. 2D is a frontal view of the instrument depicted in Fig. 2C;
Fig. 3 is a frontal view of another embodiment of the invention wherein various heat
affected zones in predetermined areas are shown;
Fig. 4 is a frontal view of another embodiment of the invention incorporating spaced-apart
holes in middle area of the instrument;
Fig. 5A is a perspective view of another embodiment of the invention without bent
ends;
Fig. 5B is a corresponding perspective view of an embodiment similar to that depicted
in Fig. 5a with a bent portion acting as weights at each end of the instrument or
representing a weight portion added to each end of the instrument;
Fig. 6A is a representative depiction of another embodiment of the invention depicting
spaced-apart dents on the surface of the instrument, which in the example, are evenly
spaced;
Fig. 6B is a representative depiction of another embodiment of the invention depicting
spaced-apart dents on the surface of the instrument, which in the example, depict
dents more densely spaced at the top and bottom portions of the instrument;
Fig. 6C is a representative depiction of another embodiment of the invention depicting
spaced-apart dents on the surface of the instrument, which in the example, depict
large or deeper dents at the top and bottom portions of the instrument;
Fig. 7A is a representative frontal view depiction of another embodiment of the invention,
where in the example depicted, objects, including bells, cymbals, or domes are welded
to the top and bottom portions of the instrument;
Fig. 7B is a side view depiction of the embodiment depicted in Fig. 7A;
Fig. 8 is a perspective view of an example of another embodiment of the invention
depicting grooves, which are progressively deeper toward the middle area of the instrument;
Fig. 9 is a perspective view of an example of another embodiment of the invention
depicting a narrower portion of the instrument in middle area and a curved upper and
lower edge;
Fig. 10A is a frontal view of an example of another embodiment depicting an object
or other instrument, such as a bell or cymbal being fixed to the instrument at a common
nodal point with a hole through the common nodal point of each component;
Fig. 10B is a side view depiction of the embodiment of Fig. 10A;
Fig. 10C is a side view depiction of an embodiment similar Figs. 10A and 10B;
Fig. 10D is a side view depiction of another embodiment similar Figs. 10A, 10B and
10C;
Fig. 11 is a perspective view of another example of an embodiment of the invention
depicting by way of example slots, which are progressively deeper toward the middle
area of the instrument;
Fig. 12A is a perspective representative view of another example of an embodiment
of the invention depicting by way of example welded beads along predetermined portions
of the surface of the instrument or formed ribs along predetermined or desired portions
of the surface of the instruments or combinations of beads and ribs; and
Fig. 12B is a perspective representative view of another example of an embodiment
of the invention similar to that depicted in Fig. 12A, depicting by way of example
welded beads along predetermined or desired portions of the surface of the instrument
or formed ribs along predetermined portions of the surface of the instruments or combinations
of beads and ribs.
DETAILED DESCRIPTION OF THE INVENTION
[0090] As shown in the above-delineated and described drawings, by way of example only of
various contemplated embodiments of the invention, the invention is a percussion musical
instrument 10 comprising means for enhancing the effect known as vibrato wherein a
primary bend or curve 12 is permanently formed in the material. The primary curve
12 facilitates an oscillating flexing motion which produces an increase in amplitude
of a lowest frequency mode of vibration. The low pitch frequency modulates the whole
of a spectrum of a musical sound by repeatedly raising and lowering the spectrum of
sound in a periodic or oscillating manner. The instrument 10 is configured and formed
to be suspended from one or more points 14 by means of a supporting member 16, which
may be a rigid supporting member or a flexible supporting member. The points 14 approximate
a nodal area of the lowest frequency mode of vibration wherein the suspension point
location increases the amplitude of the vibrato and the nodal area is located at a
ratio between about .15 and about .30 times an overall length of the instrument 10.
A preferred nodal area for the instrument 10 is located at a ratio between about .20
and about .25 times the overall length of said instrument.
[0091] In another embodiment, the instrument 10 is formed with multiple primary curves or
bends 12, including by way of example only, one or more S-shaped and wave-shaped bends
or curves.
[0092] In another embodiment of the invention, one or more objects 18,40 are fused or welded
to one or both ends 36a,36b of the instrument 10. The objects 18,40 are configured,
formed and located to lower the frequency of vibrato of the instrument 10, alter the
location of the nodal area, alter an overtone structure or overall amplitude of the
instrument 10 or alter any combination of these characteristics. In a similar embodiment,
one or more objects 40 are fused, fastened or welded to one or both ends 36a,36b wherein
the objects 40 are configured, formed and located to lower the frequency of vibrato
of the instrument 10, alter the location of the nodal area, alter the overtone structure
or overall amplitude of the instrument 10 or alter any combination of these characteristics,
and wherein the objects 40 are configured, formed and located to act as independent
vibrating members 40 and conduct vibration between a main body of the instrument 10
and the vibrating members 40 and are influenced by the oscillating flexion of the
main body to create a bell or cymbal sound with vibrato. Examples of objects 18,40
that may be used in this embodiment include, but not limited to, domes, cantilevers,
springs, cymbals, and bells.
[0093] In another embodiment, a weight portion 20 of the instrument 10 is formed at one
or both ends 36a,36b or corners of the instrument 10 by the bending or folding of
one or more ends or corners of the instrument 10, therein concentrating weight at
the ends or corners. The weight portion 20 lowers the frequency of vibrato of said
instrument, alters amplitude, alters an overtone structure of said instrument or alters
a combination of these characteristics.
[0094] In another embodiment, one or more ribs 22 of metal are formed to predetermined portions
of the surface the instrument 10. The ribs 22 alter a rigidity, frequency of vibrato,
attack or swell, or overtone structure of said instrument, and the ribs 22 are more
flexible in a middle area of the instrument 10 by means of being progressively thinner
in said middle area than a portion of the ribs 22 extending away from the middle area,
or being located directionally to stiffen upper and lower areas 36a,36b of the instrument
10 more than said middle area 36c.
[0095] In another embodiment, one or more heat affected zones 24 are provided. These zones
24 alter an overtone structure of the instrument 10 and generally alters a sound character
of vibrato by causing a wider range of frequencies to be modulated by the vibrato
effect.
[0096] In another embodiment, a surface of the instrument 10 is altered to form grooves
or areas of varying thickness 26 on predetermined portions of the instrument 10 in
which the alterations are less pronounced in a middle area 36c of the instrument 10,
and more pronounced toward upper and lower ends 36a,36b of the instrument 10. The
middle area 36c is more flexible and increases the amplitude and decreases the frequency
of vibrato and alters an overtone structure of the instrument 10.
[0097] In another embodiment, a folded, flanged or bent edge 28 is provided along one or
more areas of the instrument 10. This edge 28 facilitates an increased amplitude of
vibrato when struck at an acute angle to the instrument 10. This feature also reduces
wear on a drumstick due to a presumably provided rounded, smooth edge 28.
[0098] In another embodiment, one or more welded beads 30 of metal are fused or welded to
predetermined portions of the surface the instrument 10 wherein the beads 30 alter
a rigidity, frequency of vibrato, attack or swell, or overtone structure of the instrument
10, or adds weight to one or more areas of the instrument 10. The beads 30 are provided
so as to be more flexible in a middle area 36c of the instrument 10 by means of being
of thinner gauge in the middle area 36c than a portion of the bead 30 extending away
from the middle area 36c, or being located directionally to stiffen upper and lower
areas 36a,36b of the instrument 10 more than the middle area 36c.
[0099] In another embodiment, a plurality of surface alterations comprising surface deformations
32 are located on desired portions of the surface of the instrument 10. These surface
deformations 32 are smaller or more sparsely located in a middle area 36c of the instrument
10 and larger or more densely located in top and bottom areas 36a,36b of the instrument
10 and they enhance the vibrato effect by rendering the middle area 36c more flexible
due to the smaller or more sparsely located surface deformations 32.
[0100] In another embodiment, a middle portion 34 of the instrument 10 is narrower than
upper and lower areas 36a,36b of the instrument 10. This narrower portion 34 lowers
the frequency of vibrato, alters an overtone structure, or alters an amplitude of
the instrument or any combination these characteristics.
[0101] The instrument 10 is preferably made from material comprising a bronze alloy composed
of about 6 to 16 percent tin, said alloy further containing between about .02 to .50
percent each of nickel and iron for use as grain refining agents, between about .005
and .70% phosphorous and less than 1% total trace elements, and a remainder being
copper. This alloy provides an increase in flexibility or resistance to permanent
deformation and enhances an ability of the instrument to produce high amplitude vibrato.
[0102] In another embodiment, a plurality of spaced-apart open slots or cuts 38 or two or
more are provided at predetermined or desired locations. These slots or cuts 38 typically
extend from an outer edge inwardly. The slots or cuts 38 are preferably of a shorter
length in bottom and top areas 36a,36b, and of increasing length toward a middle area
36c. This configuration of open slots or cuts 38 make the middle area 36c more flexible.
Although a single slot would provide some benefits, a preferred embodiment is an instrument
incorporating the two or more slots.
[0103] In another embodiment, another percussion instrument 40, typically a cymbal, bell
or dome-shaped percussion instrument, and a vibrato section of the instrument 10 are
fixedly attached (such as by fusing, welding or fastening or other similar methods)
at a common nodal area 42, with the nodal area of the vibrato section being located
at .15 to .30 times the length of the vibrato section, and the nodal area of the other
percussion instrument 40 being located at a center of the other percussion instrument
40, and the attached sections share a common mounting hole 44.
[0104] In another embodiment, material in a middle area 36c of the instrument 10 is altered
by a hole 46 or a plurality or groups of spaced-apart holes 46 located in predetermined
or desired spaced-apart locations. These holes may be shaped as desired, including
preferably round and/or elongated. The holes 46 increase an ease of deflecting the
instrument 10, lower the frequency of vibrato, or alter an overtone structure of the
instrument, or any combination these characteristics.
[0105] In another embodiment, a surface alteration 32 is formed on predetermined and/or
desired portions of the instrument 10. The surface alteration 32 alters an overtone
structure of the instrument and generally alters a sound character of vibrato by causing
a wider range of frequencies to be modulated by the vibrato effect. Examples of such
alterations 32 are one or more dented, pressed, deformed, bent, hammered, grooved,
etched or heat affected zones, or any combination thereof. The unexpected and useful
result of such a deformation process is that the modulating effect of the vibrato,
with its constant shifting of frequencies provides a decidedly interesting effect
never before anticipated in prior art where simple strips of un-hammered metal were
shaken or struck to produce a percussive sound.
[0106] It should be understood that the preceding is merely a detailed description of one
or more embodiments of this invention and that numerous changes to the disclosed embodiments
can be made in accordance with the disclosure herein without departing from the spirit
and scope of the invention. The preceding description, therefore, is not meant to
limit the scope of the invention. Rather, the scope of the invention is to be determined
only by the appended claims and their equivalents.
1. A percussion musical instrument comprising:
means for enhancing the effect known as vibrato wherein a primary bend or curve is
permanently formed in the material,
wherein said primary curve facilitates an oscillating flexing motion which produces
an increase in amplitude of a lowest frequency mode of vibration,
wherein said low pitch frequency modulates the whole of a spectrum of a musical sound
by repeatedly raising and lowering said spectrum of sound in a periodic or oscillating
manner,
wherein said instrument is configured and formed to be suspended from one or more
points by supporting member means for supporting said instrument during use, said
points approximating a nodal area of the lowest frequency mode of vibration wherein
said suspension point location increases said amplitude of said vibrato and said nodal
area being located at a ratio between about .15 and about .30 times an overall length
of said instrument.
2. The instrument according to claim 1, further comprising:
multiple primary curves or bends, including one or more S-shaped and wave-shaped bends
or curves.
3. The instrument according to claim 1, wherein said nodal area is located at a ratio
between about .20 and about .25 times the overall length of said instrument.
4. The instrument according to claim 1, wherein one or more objects are fused or welded
to one or both ends of said instrument, wherein said objects are configured, formed
and located to lower the frequency of vibrato of said instrument, alter the location
of the nodal area, alter an overtone structure or overall amplitude of said instrument
or alter any combination thereof.
5. The instrument according to claim 1, wherein one or more objects are fused, fastened
or welded to one or both ends wherein said objects are configured, formed and located
to lower the frequency of vibrato of said instrument, alter the location of the nodal
area, alter the overtone structure or overall amplitude of said instrument or alter
any combination thereof, wherein said objects are configured, formed and located to
act as independent vibrating members and conduct vibration between a main body of
the instrument and the vibrating members and are influenced by the oscillating flexion
of said main body to create a bell or cymbal sound with vibrato.
6. The instrument according to claim 1, wherein a weight portion of said instrument
is formed at one or both ends or corners of said instrument by the bending or folding
of one or more ends or corners of the instrument, therein concentrating weight at
said ends or corners, wherein said weight portion lowers the frequency of vibrato
of said instrument, alters amplitude, alters an overtone structure of said instrument
or alters a combination thereof.
7. The instrument according to claim 1, wherein one or more ribs of metal are formed
to predetermined portions of the surface said instrument, wherein said ribs alter
a rigidity, frequency of vibrato, attack or swell, or overtone structure of said instrument,
and wherein said ribs are more flexible in a middle area of the instrument by means
of being progressively thinner in said middle area than a portion of said ribs extending
away from said middle area, or being located directionally to stiffen upper and lower
areas of the instrument more than said middle area.
8. The instrument according to claim 1, further comprising:
one or more heat affected zones which alter an overtone structure of said instrument
and generally alters a sound character of vibrato by causing a wider range of frequencies
to be modulated by the vibrato effect.
9. The instrument according to claim 1, wherein a surface of said instrument is altered
to form grooves or areas of varying thickness on predetermined portions of said instrument
in which said alterations are less pronounced in a middle area of said instrument,
and more pronounced toward upper and lower ends of said instrument, wherein said middle
area is more flexible and increases the amplitude and decreases the frequency of vibrato
and alters an overtone structure of said instrument.
10. The instrument according to claim 1, further comprising:
a folded, flanged or bent edge in along one or more areas of said instrument, wherein
said edge facilitates an increased amplitude of vibrato when struck at an acute angle
to said instrument.
11. The instrument according to claim 1, wherein one or more welded beads of metal are
fused or welded to predetermined portions of the surface of said instrument wherein
said beads alter a rigidity, frequency of vibrato, attack or swell, or overtone structure
of said instrument, or adds weight to one or more areas of said instrument, and wherein
said beads are more flexible in a middle area of the instrument by means of being
of thinner gauge in said middle area than a portion of said bead extending away from
said middle area, or being located directionally to stiffen upper and lower areas
of the instrument more than said middle area.
12. The instrument according to claim 1, further comprising:
a plurality of surface alterations comprising surface deformations, wherein said surface
deformations are smaller or more sparsely located in a middle area of said instrument
and larger or more densely located in top and bottom areas of said instrument,
wherein said surface deformations enhance the vibrato effect by rendering said middle
area more flexible due to said smaller or more sparsely located surface deformations.
13. The instrument according to claim 1, wherein a middle portion of said instrument
is narrower than upper and lower areas of said instrument, wherein said narrower portion
of said instrument lowers the frequency of vibrato, alters an overtone structure,
alters an amplitude of said instrument or any combination thereof.
14. The instrument according to claim 1, wherein said instrument is made from material
comprising:
a bronze alloy composed of about 6 to 16 percent tin, said alloy further containing
between about .02 to .50 percent each of nickel and iron for use as grain refining
agents, between about .005 and .70% phosphorous and less than 1% total trace elements,
and a remainder being copper, wherein said alloy provides an increase in flexibility
or resistance to permanent deformation and enhances an ability of said instrument
to produce high amplitude vibrato.
15. The instrument according to claim 1, further comprising:
two or more open slots or cuts, extending from an outer edge inward, wherein said
slots or cuts are of a shorter length in bottom and top areas, and of increasing length
toward a middle area, wherein said configuration of open slots or cuts make said middle
area more flexible.
16. The instrument according to claim 1, wherein another percussion instrument and a
vibrato section of said instrument are fixedly attached at a common nodal area, with
the nodal area of said vibrato section being located at .15 to .30 times the length
of said vibrato section, and the nodal area of said other percussion instrument being
located at a center of said other percussion instrument, and wherein said fused sections
share a common mounting hole.
17. The instrument according to claim 1, wherein material in a middle area of said instrument
is altered by one or more holes, wherein said one or more holes increase an ease of
deflecting said instrument, lower the frequency of vibrato, alter an overtone structure
of said instrument, or any combination thereof.
19. The instrument according to claim 1, further comprising:
a surface alteration formed on portions of said instrument, wherein said surface alteration
alters an overtone structure of said instrument and generally alters a sound character
of vibrato by causing a wider range of frequencies to be modulated by the vibrato
effect.
20. The instrument according to claim 19, wherein said surface alteration comprises one
or more dented, pressed, deformed, bent, hammered, abraded, compressed, slotted, folded,
grooved, etched or heat affected zones, or any combination thereof.