BRIDGE AND PRODUCTION METHOD IN THE VIOLIN FAMILY

Description

Technical Field

[0001] This invention is related to a new bridge and production method thereof providing that sounds with high quality of tone and sound characteristics are obtained as a result of producing the bridge(threshold) from ram horn and buffalo horn, used in the violin family which belongs to the stringed instruments. The ram and buffalo horn bridge increases characteristics and beauty of timbre, an archaized sound quality is obtained when it is used on the violin, viola, cello and contrabass.

Prior Art

[0002] The main function of the bridge is to transmit the vibration to the sound box, to resist pressure and tensile force coming from strings. The bridge performs the functions of strengthening sound, tone, resonance and resisting the force generated by string. The shape, form and cut of the bridge change according to the nature, properties of rigidity and flexibility of the wood used and environment where it grows up. The most important factors affecting the sound vibration are the model of the bridge, space between feet of the bridge, thinness of its feet and well running of its feet. The form and processing of the bridge and good materials used are very effective in transmission of vibration to the sound box. The bridge is made with different sizes in each of stringed instruments. Depths of the string slots, angle that the bridge feet make with the sound box are important factors in well sounding. In some countries, bridge is also called as threshold.

[0003] There are various bridges in the existing technology. Said bridges are made of maple, which is a wooden material and which is also known as butterfly tree generally in our country (TR), in certain forms and suitable sizes with stringed instruments. Bridges are designed on the purpose of increasing the ideal sound and tone quality for violin, viola, cello and contrabass which are all members of the violin family and providing the archaized sound quality for instruments. Here, the main point is increasing of the sound value and financial value of an instrument which is in the violin family in parallel with increasing of its age.

[0004] Wood is preferred as raw material in the bridges at the state of the art on the purpose of strengthening sound, tone and resonance. However, this situation sometimes causes problems like bending, deflection and deforming because of the pressure that strings apply. Deformation is seen in the bridges produced for violin, viola, cello and contrabass because of the string pressure that each stringed instrument has in itself. In addition to deformation, problems like chink sound, wolf also may be met in time. Because this deformation decreases sound quality in time, operations like changing bridge, reconditioning or applying heat treatment to the bridge are inevitable. This situation causes difficulties for people who play stringed instruments and negative conditions like financial problems and work interruption and most importantly, affects the sound quality of the stringed instrument negatively.

[0005] There are two types of bridge models used commonly in the world. These bridges known as French and Belgian models are produced in many countries by fabrication. While the bridge feet are longer in Belgian model, the feet are shorter in French model. While they only consists of two different types, sound difference does not exist. Instrument producers (luthiers) can work with their own style on bridges by making changes on these two models as they desire. But the main form of bridge remains the same in any case except of little changes.

[0006] In the German patent (utility model) with the number of DE20318308U1, a curved top bridge designed symmetrically for supporting string resonance of the stringed instruments is mentioned. Two feet completely treading on the surface of sound box at equal distance to both sides of the central line are present to support the top of the body. A wood bridge is designed such as it has two kidney shaped holes positioned symmetrically on feet, string slots formed symmetrically for both of two strings on the top and an opening in the form of isosceles triangle on feet and concave side edges of the opening such that they hold the feet. In other words, sound problems are solved by changing design of the bridge of viola, cello and contrabass which are existing stringed instruments with a deformation preventive design. However, this design causes difficulty in playing the instrument for the performer because of the symmetric change made in the stringed slots. Because there is a usual ongoing playing method.

[0007] Also, an acoustic vibration decreasing system which separates the sound vibrations of the electric instruments (cello and guitar) is constituted in the European Patent Office document with the number of EP1471498A2. According to this system, electrical signals are taken from the sound and vibration obtained when the instrument is played via a mechanical-electrical converter positioned just under the feet of the bridge in the box. Here; the main purpose of the bridge, shortly said invention, is about the solution of the problems like resonance, tone etc. of the known bridge. In addition, this mechanism can be used also for French model bridges. However, this type needs to be treated because the electronic mechanisms may have problems in time. Additionally; the sound obtained is artificial, it spoils the sound character. The sound obtained is not natural. In the cello and guitar; when the difference of sound, tone, volume obtained from both of two independent instruments is considered, usage of the same type bridge and the same mechanism may cause negative situations. Also, the operation cost will be high because it has a grift design.

[0008] In WO2010/053810 A1, a bridge made of any suitable comparatively lightweight, acoustically resonant material including wood, fiberglass carbon fiber, graphite, aluminum, bone, plastic, ivory, polyborontrinitrate, corian, micarta, phenolic, and their combinations are disclosed. (page 24, line 16-19) Furthermore, WO2010/053810 discloses a bridge which allows an electric guitar to deliver authentic acoustic tone without any pre-amplification or signal conditioning.

[0009] The article in the name of "Instruments used by Aa-Yang ensemble" by Jigme d, mentions from a buffalo horn which is used to make the two stringed fiddle.

[0010] The document of FR 2 616 257 A1, discloses bridges for instruments. This bridge consists of the following materials: polycarbonates, such plexiglass, plexi / crystal, tinted or transparencies, altuglass, plastic compounds scales of various colors, ultramides, precious metals, and stainless such as gold, white gold, with platinum, and alloys wave bronzes, brass, ivory and cleaned bones, plastic materials, shells, scales, stainless, cerasiques, fiber glass and carbon. The bridges in this document uses a structure which is composed of a lot of material (described above) wherein the usage amounts and percentages of these materials is unknown.

The Aim of the Invention

[0011] The aim of this invention is to provide archaizing (tone and character of old instruments) and increasing of the sound quality of violin, viola, cello and contrabass which are in the violin family as a result of usage of ram horn and buffalo horn as raw material.

[0012] As a result of the usage of ram horn and buffalo horn as raw material, another aim of this invention is to remove deformation conditions like deflection, bending because of the string pressure observed in the bridges in time and situations relating to this like spoiling sound quality.

[0013] Another aim of the invention is to increase the deformation resistance of the bridge by performing chemical hardening process to the bridge made of ram horn and buffalo horn with water and sodium sulfate mixture.

[0014] Another aim of the invention is to provide that the sound in the bridge is more characteristic/qualified as a result of preferring ram horn and buffalo horn rather than other raw materials used. The possibility of tang, wolf which is present in wooden bridges is not in question in the bridges made of ram horn and buffalo horn.

[0015] Another aim of the invention is that mutes (Sordino) used for either orchestra or individual performance can be used easily in the bridges made of ram horn and buffalo horn as well as in wooden bridges.

[0016] Another aim of the invention is that the wolf sound problem which may occur in the violin family (violin, viola, cello, contrabass) especially in the c sharp and f sharp sounds is exactly not present in the bridges made of ram horn and buffalo horn.

[0017] Another aim of the invention is that when ram horn and buffalo horn is provided in the sizes suitable for the production of the bridge, either cutting of this raw material with manual labor or its production by cutting in CNC machines is quite easy and simple. Therefore, there are not any high costs in its production and processing of the product. Another aim of the invention is to provide obtaining a much higher qualified sound than the factory made bridges. These aims are achieved by the appended set of claims. This invention can be used in all solo instruments and violin family orchestra (violin, viola, cello, contrabass) instruments. Regardless of the age of instrument, an archaized sound can be obtained like an old instrument when the bridge made of ram horn and buffalo horn is used. Therefore; waiting for years is not needed, finding an instrument which has been used for years and paying high costs are not in question in order to obtain this archaized sound desired from the instrument.

Detailed Description of the Invention

[0018] 

Figure 1: It is the front view of a French model symbolic violin and viola bridge of the disclosed invention.

Figure 2: It is the front view of a French model type of symbolic cello and contrabass bridge of the disclosed invention.

Figure 3: It is the front view of a Belgian model type symbolic cello and contrabass bridge of the disclosed invention.

[0019] The parts in the figures are numbered respectively and the equivalents of these numbers are given below.

1 French model bridge (threshold) (violin, viola, cello, contrabass)

2 Belgian model bridge (threshold) (cello, contrabass)

[0020] In this invention, ram horn and buffalo horn are used instead of wood as raw material in the French model bridges (1) and Belgian model bridges (2) which are two different types. Raw material is changed without any changes in the design of the existing bridges. The raw material used is exposed to a chemical process before its usage. This process is completely for increasing deformation resistance of the raw material.

[0021] Ram horn and buffalo horn raw materials are undergone process below to be used in the French model bridges (1) and Belgian model bridges (2).

• Obtaining the raw material of the bridge (1,2) via cutting the ram horn and buffalo horn in layer form,
• Making a mold of the bridge (1,2) of all types of stringed instruments; violin, viola, cello and contrabass,
• Keeping the bridge; which is taken out of the mold (with an extra 1 millimeter margin for a final touch and polishing) and which is made of ram horn or buffalo horn raw material, in a liquid mixture of 1000 milliliters of water comprising 50 milliliters of sodium sulfate for the buffalo horn bridge, and 25 milliliters of sodium sulfate for the ram horn bridge;
• Keeping the French model bridges (1) or Belgian model bridges (2) in this liquid mixture during 24 to 48 hours., The keeping time can change according to the size of the bridge. Lower limit of the keeping time for small sized bridges (such as those for violin and viola) is 24, lower limit of the keeping time for large sized bridges (such as those for cello and contrabass) is 36 hours;
• Leaving the French model bridge (1) and Belgian model bridge (2) to open air for drying naturally through 24 hours when they are taken out of this liquid mixture and;
• Completing final touches and tuning adjustments and polishing with polishing paste made of white lead or with a polisher which the instrument producer considers suitable of the French model bridge (1) or Belgian model bridge (2) after the drying process.

[0022] The said process consists of the steps above.

Claims

1. A French model or Belgian model bridge (1,2) for a violin family, characterized in that it is made of ram horn to provide a high qualified and archaized sound.

2. A French model or Belgian model bridge (1,2) for a violin family, characterized in that it is made of buffalo horn to provide a high qualified and archaized sound.

3. A method for producing the French model bridge (1) or Belgian model bridge (2) according to claim 1 or 2; characterized in that the production of the bridge made of said ram horn or buffalo horn comprises the steps of,

- obtaining the raw material of the bridge (1,2) via cutting the ram horn or buffalo horn in layer form;

- making a mold of the bridge (1,2) for a violin family;

- keeping the bridge; which is taken out of the mold with an extra 1 millimeter margin for a final touch and polishing and which is made of ram horn or buffalo horn raw material, in a liquid mixture of 1000 milliliters of water comprising 50 milliliters of sodium sulfate for the buffalo horn bridge and 25 milliliters of sodium sulfate for the ram horn bridge,

- keeping the French model bridge (1) or Belgian model bridge (2) in this liquid mixture during 24 to 48 hours, wherein the keeping time changes according to the size of the bridge, the lower keeping time for small sized bridges such as those for violin and viola being 24 hours, and the lower keeping time for large sized bridges such as those for cello and contrabass being 36 hours,

- leaving the French model bridge (1) or Belgian model bridge (2) to open air for drying naturally through 24 hours when they are taken out of the liquid mixture; and

- completing final touches and tuning adjustments and polishing with polishing paste made of white lead or with a polisher which the instrument producer considers suitable of the French model bridge (1) or Belgian model bridge (2) after the drying process.

Ansprüche

1. Ein französisches Brückenmodell oder ein belgisches Brückenmodell (1,2) für eine Geigenfamilie, dadurch gekennzeichnet, dass es aus Widderhorn gefertigt ist, um einen hochqualifizierten und archaischen Klang zu liefern.

2. Ein französisches Brückenmodell oder ein belgisches Brückenmodell (1,2) für eine Geigenfamilie, dadurch gekennzeichnet, dass es aus Büffelhorn gefertigt ist, um einen hochqualifizierten und archaischen Klang zu liefern.

3. Verfahren zur Herstellung des französischen Brückenmodells (1) oder des belgischen Brückenmodells (2) nach Anspruch 1 oder 2, dadurch gekennzeichnet, dass die Herstellung der Brücke aus dem genannten Widder- oder Büffelhorn die folgenden Schritte umfasst:

- Gewinnung des Rohmaterials für die Brücke (1,2) durch Schneiden des Widder- oder Büffelhorns in Schichten;

- Herstellung einer Form für die Brücke (1,2) für eine Geigenfamilie;

- Beibehaltung der Brücke, die mit einem zusätzlichen Rand von 1 Millimeter für den letzten Schliff und die Politur aus der Form herausgezogen wird, und die aus dem Rohmaterial Widder- oder Büffelhorn hergestellt ist, in einer flüssigen Mischung von 1000 Millilitern Wasser mit 50 Millilitern Natriumsulfat für die Büffelhornbrücke und 25 Millilitern Natriumsulfat für die Widderhornbrücke hergestellt wird,

- Beibehaltung des französischen Brückenmodells (1) oder des belgischen Brückenmodells (2) 24 bis 48 Stunden lang in dieser flüssigen Mischung, wobei sich die Haltedauer je nach Größe der Brücke ändert, wobei die kürzere Haltedauer für kleine Brücken, wie die für Violine und Viola, 24 Stunden und die kürzere Haltedauer für große Brücken, wie die für Cello und Kontrabass, 36 Stunden beträgt,

- Belassen des französischen Brückenmodells (1) oder des belgischen Brückenmodells (2) an der Luft, um es auf natürliche Weise 24 Stunden lang zu trocknen, wenn es aus der flüssigen Mischung genommen werden; und

- Fertigstellung des letzten Schliffs und der Stimmung sowie Polieren mit Polierpaste aus Bleiweiß oder mit einer Poliermaschine, die vom Instrumentenhersteller als geeignet für das französische Brückenmodell (1) oder das belgische Brückenmodell (2) angesehen wird.

Revendications

1. Chevalet modèle français ou modèle belge (1,2) pour une famille de violon, caractérisé en ce qu'il est réalisé en corne de bélier pour fournir un son hautement qualifié et archaïsant.

2. Chevalet modèle français ou modèle belge (1,2) pour une famille de violon, caractérisé en ce qu'il est réalisé en corne de buffle pour fournir un son hautement qualifié et archaïsant.

3. Procédé de fabrication du chevalet modèle français (1) ou du chevalet modèle belge (2) selon la revendication 1 ou 2 ; caractérisé en ce que la fabrication du chevalet en ladite corne de bélier ou corne de buffle comprend les étapes consistant à

- obtenir la matière première du chevalet (1,2) par découpage de la corne de bélier ou de buffle sous une forme de couche ;

- fabriquer un moule du chevalet (1,2) pour une famille de violon ;

- maintenir le chevalet qui est sorti du moule avec une marge supplémentaire de 1 millimètre pour la touche finale et le polissage et qui est réalisé en corne de bélier ou en corne de buffle, dans un mélange liquide de 1000 millilitres d'eau comprenant 50 millilitres de sulfate de sodium pour le chevalet en corne de buffle et 25 millilitres de sulfate de sodium pour le chevalet en corne de bélier ;

- maintenir le chevalet modèle français (1) ou du chevalet modèle belge (2) dans ce mélange liquide pendant 24 à 48 heures, dans lequel le temps de maintien change en fonction de la taille du chevalet, le temps de maintien inférieur pour les chevalets de petite taille tels que ceux pour violon et alto étant de 24 heures, et le temps de maintien inférieur pour les chevalets de grande taille tels que ceux pour violoncelle et contrebasse est 36 heures ;

- laisser le chevalet modèle français (1) ou le chevalet modèle belge (2) à l'air libre pour sécher naturellement pendant 24 heures lorsqu'ils sont sortis du mélange liquide ; et

- terminer les touches finales et les ajustements de syntonisation et polir avec une pâte de polissage à base de céruse ou avec une polisseuse que le fabricant d'instruments juge appropriée pour le chevalet modèle français (1) ou le chevalet modèle belge (2) après le processus de séchage.

Drawing