A cello's knee supports swing inward toward its narrow central body. The strings keep their length while the width needed during playing folds away. With a narrow central body, the places where a player holds the instrument still have a job to do.

Yamaha's drawings also send a guitar's outline around its back and add small branches to wind-instrument tubes. Storage space is one constraint. The positions of knees and fingers, the resonance of air and the movement of striking parts set others.

FIG. 01

Bring the cello's knee supports back toward its body

SOURCE FIGURESFIG. 4, FIG. 5
PUBLICATIONUS6255565B1
US6255565B1 / FIGS. 4–5. Extended supports from the rear, then folded supports from the front.
FIG. 01US6255565B1
Rear view of an electric cello with its knee supports extended, above a front view with the supports folded alongside the body.

US6255565B1 / FIGS. 4–5. Extended supports from the rear, then folded supports from the front.

Drag to pan when zoomed. Use + / − to zoom, 0 to fit, arrow keys to pan, and Alt + arrow keys for the previous or next FIG.

What is it?

Arms extend to either side of a slim body, carrying pads that the player holds between their knees. For storage, the arms turn along the body and the pads change angle to nest closer to it.

The arm pivots are tilted relative to the back of the body, setting the path along which the supports fold. Clamps and locks secure the playing position. The chest support is a separate component.

Yamaha CorporationFIG. 01
ASSIGNEE
Yamaha Corporation
PRIORITY
1999-03-03
PUBLISHED
2001-07-03
PUBLICATION
US6255565B1
INVENTORS
Shinya Tamura
ORIGINAL
FIG. 02

Swing the guitar's outline behind the strings

SOURCE FIGURESFIG. 3, FIG. 4
PUBLICATIONUS20140116226A1
US20140116226A1 / FIGS. 3–4. The frame's rotation path, connecting screw and pivot axis.
FIG. 02US20140116226A1
A guitar with one outline frame rotated around the rear toward the opposite frame, above a section through its pivot connection.

US20140116226A1 / FIGS. 3–4. The frame's rotation path, connecting screw and pivot axis.

Drag to pan when zoomed. Use + / − to zoom, 0 to fit, arrow keys to pan, and Alt + arrow keys for the previous or next FIG.

What is it?

Two frames provide the outline around a central string-bearing body. One frame pivots about the body's lengthwise direction, passing around the rear until it approaches the frame on the other side.

The dashed and solid positions in FIG. 3 show how the frame moves without crossing the strings. FIG. 4 shows the connecting screw passing through the frame end and serving as its pivot axis.

Yamaha CorporationFIG. 02
ASSIGNEE
Yamaha Corporation
PRIORITY
2012-10-29
PUBLISHED
2014-05-01
PUBLICATION
US20140116226A1
INVENTORS
Konyo Saito / Hiroyuki Tsuruhashi
ORIGINAL
FIG. 03

Give a drum kit one place to fold into

SOURCE FIGURESFIG. 3
PUBLICATIONUS20110036230A1
US20110036230A1 / FIG. 3. The deployed pads and the board around which they are arranged.
FIG. 03US20110036230A1
Seven electronic percussion pads deployed around a central rectangular board, viewed from the player's side.

US20110036230A1 / FIG. 3. The deployed pads and the board around which they are arranged.

Drag to pan when zoomed. Use + / − to zoom, 0 to fit, arrow keys to pan, and Alt + arrow keys for the previous or next FIG.

What is it?

Arms carry seven playing surfaces in front of, behind and above a central board. For storage, the arms and pads turn toward the board, bringing the pads within its outer outline.

The large rectangle remains visible in the deployed view shown here. It provides a common support; the publication's storage view shows the circular pads packed against that same area.

Yamaha CorporationFIG. 03
ASSIGNEE
Yamaha Corporation
PRIORITY
2006-03-23
PUBLISHED
2011-02-17
PUBLICATION
US20110036230A1
INVENTORS
Marianne Bailey
ORIGINAL
FIG. 04

Slip a different weight onto the beater from the side

SOURCE FIGURESFIG. 6A, FIG. 6B
PUBLICATIONUS9685146B2
US9685146B2 / FIGS. 6A–6B. Left: lower retainer 210 to insert weight 230. Right: spring 220 holds it in place.
FIG. 04US9685146B2
Sectional views of a drum beater with the retainer lowered to insert a weight from the side and with the spring holding the weight in place.

US9685146B2 / FIGS. 6A–6B. Left: lower retainer 210 to insert weight 230. Right: spring 220 holds it in place.

Drag to pan when zoomed. Use + / − to zoom, 0 to fit, arrow keys to pan, and Alt + arrow keys for the previous or next FIG.

What is it?

A movable retainer sits just below the part that strikes the bass drum. Pulling it down against a spring opens a gap for a weight, which is then held between the retainer and the beater head.

A slot in the weight admits the rod from the side. The weight can be inserted near the striking head without taking the head off or threading the weight along the entire rod.

Yamaha CorporationFIG. 04
ASSIGNEE
Yamaha Corporation
PRIORITY
2015-09-30
PUBLISHED
2017-06-20
PUBLICATION
US9685146B2
INVENTORS
Fumihiro Shigenaga / Shinsuke Irisa
ORIGINAL
FIG. 05

Add a short branch to a straight tube

SOURCE FIGURESFIG. 6A, FIG. 6B
PUBLICATIONUS20110197737A1
US20110197737A1 / FIGS. 6A–6B. The main pipe, upward branch and blowing section.
FIG. 05US20110197737A1
Sections through a wind instrument's finger-holed main pipe and auxiliary branch, shown without and with its mouthpiece.

US20110197737A1 / FIGS. 6A–6B. The main pipe, upward branch and blowing section.

Drag to pan when zoomed. Use + / − to zoom, 0 to fit, arrow keys to pan, and Alt + arrow keys for the previous or next FIG.

What is it?

A short auxiliary tube joins the main pipe near the blowing section. Choosing its length and cross-sectional area is intended to approximate the resonance of a tapered pipe while retaining constant-width main and branch tubes.

In FIG. 6B the junction sits outside the mouthpiece. The description separates the branch from the mouthpiece attachment so that a conventional saxophone mouthpiece can be fitted and removed.

Yamaha CorporationFIG. 05
ASSIGNEE
Yamaha Corporation
PRIORITY
2010-02-12
PUBLISHED
2011-08-18
PUBLICATION
US20110197737A1
INVENTORS
Hideyuki Masuda / Yuichiro Suenaga
ORIGINAL
FIG. 06

Put a branching air passage inside the mute

SOURCE FIGURESFIG. 3
PUBLICATIONUS20130036895A1
US20130036895A1 / FIG. 3. The auxiliary tube joins at P1; F indicates the airflow path.
FIG. 06US20130036895A1
Section through a brass-instrument mute with a narrow auxiliary tube bending back alongside the larger main pipe.

US20130036895A1 / FIG. 3. The auxiliary tube joins at P1; F indicates the airflow path.

Drag to pan when zoomed. Use + / − to zoom, 0 to fit, arrow keys to pan, and Alt + arrow keys for the previous or next FIG.

What is it?

The proposed bell-mounted mute contains a main pipe and a narrower auxiliary pipe. The auxiliary passage branches from the main pipe, bends back to run alongside it and opens at its far end.

The publication describes choosing tube dimensions and junction position to approximate the bell's resonance while reducing sound through a less flared outlet. The drawing shows the passage layout, not measured attenuation or playing feel.

Yamaha Corporation (assignment record; cover: YAMAMHA CORPORATION)FIG. 06
ASSIGNEE
Yamaha Corporation (assignment record; cover: YAMAMHA CORPORATION)
PRIORITY
2011-08-10
PUBLISHED
2013-02-14
PUBLICATION
US20130036895A1
INVENTORS
Hideyuki Masuda / Yuichiro Suenaga
ORIGINAL
FIG. 07

Release the driving action before stopping the hammer

SOURCE FIGURESFIG. 2
PUBLICATIONUS20030110897A1
US20030110897A1 / FIG. 2. Hammer stopper 30 and timing changer 260 near the keyboard action.
FIG. 07US20030110897A1
Side section of a grand-piano action with a hammer stopper and a linked mechanism that changes escapement timing.

US20030110897A1 / FIG. 2. Hammer stopper 30 and timing changer 260 near the keyboard action.

Drag to pan when zoomed. Use + / − to zoom, 0 to fit, arrow keys to pan, and Alt + arrow keys for the previous or next FIG.

What is it?

In silent mode, a stopper enters the path of the hammer shanks and catches them before the hammers strike the strings. At the same time, the jack that pushes the hammer is made to escape earlier.

The stopper is split between the bass and the middle-to-high registers. One motor drives two transmission paths that switch both stopper sections and the timing changer together.

Yamaha Corporation (assignment recorded 2002-10-08)FIG. 07
ASSIGNEE
Yamaha Corporation (assignment recorded 2002-10-08)
PRIORITY
2001-12-13
PUBLISHED
2003-06-19
PUBLICATION
US20030110897A1
INVENTORS
Katsuo Itou
ORIGINAL
FIG. 08

Adjust the shaft that carries vibration into the soundboard

SOURCE FIGURESFIG. 3, FIG. 4
PUBLICATIONUS20150128790A1
US20150128790A1 / FIGS. 3–4. Piano installation and the soundboard connection shaft 514.
FIG. 08US20150128790A1
Placement of actuators in a piano and a perspective view of an actuator with a central shaft extending toward the soundboard.

US20150128790A1 / FIGS. 3–4. Piano installation and the soundboard connection shaft 514.

Drag to pan when zoomed. Use + / − to zoom, 0 to fit, arrow keys to pan, and Alt + arrow keys for the previous or next FIG.

What is it?

Current in a coil produces motion that a shaft carries into the soundboard. FIG. 3 shows the installation within the piano; FIG. 4 shows the actuator and its projecting connection.

A threaded shaft adjusts the distance to the soundboard during mounting. The connection can reach the board while the voice coil remains in its intended position within the magnetic circuit.

Yamaha CorporationFIG. 08
ASSIGNEE
Yamaha Corporation
PRIORITY
2011-12-15
PUBLISHED
2015-05-14
PUBLICATION
US20150128790A1
INVENTORS
Kenta Ohnishi / Yuji Takahashi
ORIGINAL

AFTER THE FIGURES

Keeping the connections that make playing possible

The cello and guitar preserve a supporting outline during performance, then rearrange it for transport. The wind-instrument designs use branch tubes to reshape acoustic behavior. Changing an instrument's outline means deciding again which part should perform each function.

The two piano proposals make that choice especially clear. One stops the hammer before it reaches the strings; the other sends vibration to the soundboard from a different source. Alongside the visible shape, there is another structure to follow, the path from the player's body to the sound.

SOURCES

Primary sources

  1. US6255565B1 — Electric stringed musical instrument having stretchable frame body
  2. US20140116226A1 — Electric stringed instrument
  3. US20110036230A1 — Percussion instrument and electronic percussion instrument
  4. US9685146B2 — Drum beater and drum foot pedal apparatus
  5. US20110197737A1 — Pipe structure of wind instrument
  6. US20130036895A1 — Mute for brass instrument
  7. US20030110897A1 — Silent system with split hammer stopper and keyboard musical instrument having the same
  8. US20150128790A1 — Actuator for vibrating a sound board in a musical instrument and method for attaching same