DE190001C - - Google Patents

Description

IMPERIAL

PATENT OFFICE.

The present invention relates essentially to a further development of the method and the device for generating and transmitting music by electrical means, as described in patent specification 115631. The one described in the cited patent Device for regulating the expression, which although with regard to their design and their physical mode of operation of

ίο differs from an ordinary piano, resembles but a piano in terms of the fact that the volume of each note is independent of that of the other notes is only regulated by the player's touch on the keys. The new device that is in their Design and its physical mode of operation and even in its musical way Effect differs significantly from an organ, but resembles an organ in terms of

■ 20 their physical performance and mode of action more than a piano. Important parts of the invention relate to a majority of Devices for regulating the expression, through which various musical effects can be achieved, which could not be achieved so far.

a) It is possible for the player to produce sharply different paint colors, for example the melody in one tone color and the accompaniment in one of them can be sharply different Tone color can be played.

b) Several keyboards are advantageously used for this purpose.

c) The arrangement is not made in such a way that the different keyboards are different Clay colors belong, but also continue in such a way that the game ends from time to time change the tone color of a keyboard.

d) The electric waves corresponding to the desired tones are put together, and it is made possible for the player to regulate which sub-elements are included in the composite vibrations, which one Corresponding to the grade, enter and then also the relative strength of the various elements, which enter into a compound note.

e) Furthermore, an electrical amplification device or an electrical crescendo and diminuendo device is provided which is common to a plurality of notes on a keyboard or to all notes on a keyboard. This enables the player to reduce the volume of the tones at will or to reinforce. As a result, various effects can be achieved, which by means of the patent specification mentioned described device can not be achieved.

f) A dynamic keyboard is also provided, d. H. a keyboard, at to which each key corresponds to a certain volume of a tone. Through this

The end of the game can gradually regulate the volume of the generated sounds suddenly change the volume from one level to another, creating new ones, never before achieved musical effects can be achieved. Appropriate use of the various Devices for regulating the expression can be a composition with different tonal colors and various expressions. Notes of different timbres can be produced at the same time will; you can let the melody emerge while the accompaniment steps back. Each note of a sound played on a keyboard can change its volume are amplified or weakened independently of the other notes of that sound, which are played on other keyboards. The volume of the note can be either amplified very slowly or moderately quickly by means of the electrical amplification device or be weakened. The volume can be adjusted using the dynamic keypad can be changed by large or small amounts almost instantly. The different musical effects performed by one or more players at the central station Can be spawned by large numbers of participants in their own home be heard.

In the drawings, Fig. 1 is an overview view; it illustrates the electrical connections for a keypad and only one set of notes.

FIG. 2 is a schematic representation of one of the keys shown in FIG. 1 with the electrical connections.

Fig. 3 shows an embodiment in which a group of current changers for each Note is used. All current changers in a group are only used for the note to which this group corresponds, as is also the case in the patent mentioned. The current changers, however, are associated with devices which are of any order of Partials that belong to a group of current changers correspond to this group of To prevent partials from sounding, or to cause them to be greater or lesser Power sounds as is desired.

Fig. 3a shows a modified embodiment in which a main set of current changers is used, of which the first, second, fourth, eighth and sixteenth partials can be derived. From a proposition of Current changers derive the third, sixth and twelfth partials and from The fifth and tenth partials are derived from a further auxiliary set of current changers. In general, then, every current changer generates electrical oscillations of the j same frequency for the different keys by having a partial of an order for one Key and a partial of a different order for another key.

FIG. 3b is an overview representation similar to that shown in FIG. 3a. which more clearly shows part of the circuits shown in Figure 3a. Fig. 4 is a single representation, partly in section, partly in elevation and shows the real arrangement of the individual contact springs 49 to 492 'with the in Fig. 3a, 3b, 5 etc. schematically illustrated rails 54, 54 ", 54 * etc.

Fig. 5 is an overview and shows in part the electrical connections of a each key on each key board to illustrate that the same vibrators, which generate the necessary electrical vibrations for a keyboard, the electrical vibrations also for. other keypads can generate.

6 is an overview illustration and shows an embodiment of a device and the power connections, which enables the partials of different orders assemble corresponding electrical vibrations into vibrations, which the Sounds correspond to the compound tones; furthermore the timbre of the compound Change tones for each keypad independently of the other keypads; furthermore by a plurality of Keyboards regulated vibrations into a single row of several highly compounded ones To unite vibrations; finally the volume of the notes on the various keyboards increases independently of one another change. The figure also shows an arrangement, the volume of the composite tones suddenly regulated by a dynamic keypad, as well as one with each device for the transmission of the vibrations connected arrangement through which a participant after Can change the volume of the tones generated on his connection set.

Fig. 7 is an overview and shows one of the arrangements of the transmission for Driving the twelve rising waves corresponding to the notes of the chromatic scale with the angular velocity corresponding to the individual waves.

Figures 8 and 9 are sectional views showing one of the twelve climbing waves shown in Figure 7 with the current changers carried by it. FIG. 8 shows the lower part of that wave with the current changers of the basic tone set designated 8 in the overview, while FIG. 9 shows the upper part of the wave ^! with the current changers for the third and

represents fifth, with 3 and 4 designated partial tone sets.

Fig. 10 shows in plan one form of key board with the various parts
a) the four voice keypads,

b) the dynamic keyboard,

c) the groups of buttons or switches which correspond to the various orders of the partials for the four keyboards, and by using them the strength of the different ones Sound elements regulated arbitrarily within wide limits from 0 to a maximum will, and

d) the four pedals 95, 95, which correspond to the four voice keyboards and which are switched on to the electrical amplification devices corresponding to the four keyboards to monitor.

11, 12 and 13 are individual representations an arrangement of the switches for the partials, through which the timbre of the notes of a Keyboard is regulated. Fig. 11 is a front view showing a group of the switching devices for the partial oscillations.

Fig. 13 is a plan view of the latter.

14 and 15 are individual representations of a Shape of the impedance coil. FIG. 14 is a view and FIG. 15 is a sectional view according to FIG Line 15-15 of Figure 14.

Fig. 16 is a partial sectional view showing one shape of an inductor for unification of the vibrations.

FIG. 17 is a partial sectional view taken along line 17-17 of FIG. 16.

18, 19, 20, 21, 22 and 23 are individual representations Figs. 13 and 14 show one form of the electric booster device. Fig. 18 is a A front view of a single reinforcement device, and Fig. 19 is a plan view of the same.

Fig. 20 is an end view of the same and shows in section the connections to a pedal by which the electrical amplifying device is moved. Fig. 21 shows in a sectional view schematically the four reinforcement devices which the correspond to four voice keypads and are moved by means of the four pedals 95 (Fig. 10 and 20). Figure 22 is a plan view of one of the conductive plates 130 associated with the electrical Reinforcement devices include. 23 is a sectional view taken along line 23-23 of FIGS. 18 and 19. FIG.

24 shows in a sectional view one of the devices for transmitting the vibrations.

FIG. 25 is an enlarged detail view similar to FIG. 24, in which the Most of the bell has broken away.

Fig. 26 is a plan view, on a larger scale than Fig. 25, with the reinforcement funnel, mouthpiece and diaphragm omitted are.

Fig. 27 is a view generally similar to Fig. 25 and illustrates one type according to which a magnet energized by a local battery in place of that shown in FIG permanent magnet is needed.

Fig. 28 shows an embodiment in which a plurality of sets of fundamental current changers can be used, which generate electrical oscillations of similar frequency but different waveform. The connections are made in such a way that each current changer replacement for itself or both can be connected at the same time.

Fig. 29 shows an arrangement in which only the fundamental series of vibration regulators is related, and according to which the electrical oscillations (either sinusoidal or complex), which in: their frequency the first, second, fourth, eighth and sixteenth Partial tone correspond to one set of independently monitored vibration regulators be derived. .

30 shows an arrangement according to which the fundamental tone set of vibration regulators 2 is used with a set of vibration regulators 4 for the fifth partials, where the sentence for the third partials is omitted and the arrangement is made such that the The fundamental tone set of the vibration regulator doesn't just include the first, second, fourth, eighth, and sixteenth Partials with perfect harmony, but also approximate, but a little more imperfect, provides the third, sixth and twelfth partials.

Fig. 31 shows a further arrangement, according to which the fundamental tone set of vibration regulators does not only include the first, second, fourth, eighth and sixteenth partials with perfect accuracy and the third, sixth and twelfth partials with little imperfection, but also, albeit imperfectly or provides approximately the fifth and tenth partials.

Figures 32, 33> 34. 35 and 35a show another one Embodiment in which the volume levels of the individual orders of the partials each The key board can be controlled independently of each other, and at which the volume of the Notes on the various key boards independently of one another by changing the mutual induction is changed which between the circuits for transmission and to receive the vibrations.

The individual figures are explained in more detail in the description.

Prop. 36 and 37 are diagrams showing a mechanism for Transmission of the vibrations at which the volume of the individual orders of the

Partials are regulated independently of one another in that the number of effective turns in the coils is changed according to the order of the partials.
Fig. 38 schematically shows one form of apparatus in which the volume of the sounds is effected by acting on a series of electric circuits transmitting the vibrations.

39 and 40 show a device in a side view and in a partial horizontal section for the transmission of the vibrations, at which the volume of the sound is regulated that a secondary coil is pushed more or less into the corresponding primary coil will.

41, 42 and 43 show overview representations modified circuit arrangements described later.

44 to 51 show modified embodiments of the control devices of the expression.

The drawings show an electrical system adapted to the chromatic scale of equal temperament, but the invention is applicable to other scales and temperatures. For the chromatic scale of equal temperament, as shown in FIG. 7, twelve waves i ^a to i ^{m are} provided which correspond to the twelve successive notes of the chromatic scale (C, C sharp, D, D flat, E, F, F sharp , G, G sharp, A, A sharp, H). Each of these waves carries a current changer or gives one such movement. The current changers are used to generate the successive octaves of the note to which the wave belongs and for which it is used. These waves i ^a to 1 '"are called climbing waves.

The current changers carried by a climbing wave match the frequency of the oscillations with the similar current changers carried by the other climbing waves. The rising waves have an angular velocity which is proportional to the oscillation frequency of the twelve notes of the chromatic scale. An embodiment of the transmission used for this purpose, which is sufficiently accurate for practical purposes, is shown in FIG. The number of teeth on each wheel is indicated by the reference number. 84Γ 84 teeth, SgT designates 89 teeth, etc. The wheel designated 9 has 256 teeth and the wheel designated 10 has 262 teeth.

Figures 8 and 9 together illustrate a rising wave. At the one on the drawings The arrangement shown moves each pitch or voice wave

a) seven fundamental oscillation controllers 2, the oscillation frequencies of which can be represented by n, 2 ", 4 n, 8m, 16.", 32 ", 64",

b) six third partial tone oscillation controllers 3, the frequencies of which can be represented by 3 «, 6n, xin, 24η, 48%, g6n , and

c) five fifth partial tone oscillation regulators 4, the frequencies of which can be represented by 5 ", ion, 20η, 40", 8on . In the design of the parts shown in the figures, η = three current pulses per revolution. Of course, η can also be equal to a larger or smaller number. The design features of the current changer can be seen in the drawings. The type of current changer used is not critical; However, whichever type is used, it is always important that the successive current pulses of a given current changer are equal to one another or at least that the period time of each current wave is the same as that of every other wave. If the various current impulses of a current changer had essentially unequal periods, or if current waves of unequal period times were generated in their armature coils, then the effects on the purity of the notes and especially on the purity of the sounds would perhaps be disadvantageous. Perhaps minor differences are not noticeable, and perhaps in special cases, minor differences produce special effects. In the experience of the inventor, however, it is best to make the pole pieces 24, 24 and 25, 25 (FIG. 8) of the same shape and shape as possible, and to arrange them as equally spaced from one another as possible. Likewise, while the various inductors shown in FIGS. 8 and 9 advantageously have teeth of different sizes, each inductor should preferably have teeth of the same size and at exactly the same distance from one another in order to achieve the best effect.

In the left part of FIG. 8 there are current changers with a rotating field for generating the tones (or more precisely the electrical vibrations that correspond to the tones) represented while the tones of higher frequency because of the cheaper manufacture of the apparatus by inductor current changers be generated. Of course, the same type of current changer can be used for the lower and higher tones, but has It turned out to be handy for the lower tones with a rotating current changer Field apply and for the higher tones inductor current changer.

The electrical circuits.

As mentioned, a single current changer can produce a partial tone for a note and a partial of the same frequency but of a different order for a different note

be directed '; for example, a root for a given note and a second partial one octave lower for the note and a fourth partial for the note two octaves below it Grade; or a third partial for one note and a sixth partial for note one Octave lower; or a fifth partial for a note and a tenth partial for the note an octave lower, etc.

ίο This derivation can be made in any convenient way. For the sake of convenience, several anchor windings are used for each current changer, namely one winding for each partial tone and, in total, as many windings for each current changer as the partial tones are supplied by it. This construction is simple with current changers as shown in the drawings, in which the field rotates while the armature is stationary. The anchor of the lowest generator that belongs to a given rising wave, and has a frequency denoted by η , feeds only one circuit in order to supply the fundamental tone for the lowest octave of the note to which this rising wave belongs. For the sake of convenience of explanation, the rising wave belonging to the grade C shall be considered, although what applies to this also applies equally to every other rising wave; because the current changer of the frequency η supplies the fundamental tone to the C of 32 current pulses or complete oscillations per second; the current changer of frequency 2 "supplies the fundamental tone to the C of 64 current pulses per second and the second partial tone to the C of 32 current pulses per second; the current changer of the frequency 4η supplies the fundamental tone to the C of 128 current pulses per second, the second partial tone to the C of 64 current pulses and the fourth partial tone to the C of 32 current pulses. The current changer of the frequency 8 "supplies the fundamental tone to the C of 128 current pulses, the fourth partial tone to the C of 64 current pulses and the eighth partial tone to the C of 32 current pulses. The current changers of the frequencies 16 ", 32" and 64 "supply the fundamental tones for the C of 512, 1024 and 2048 current pulses per second, and each supplies the second partial tone to the note one octave lower, the fourth partial tone to the note two octaves lower , the eighth partial to the note three octaves lower and the sixteenth partial to the note four octaves lower than the one for which it supplies the root. The current changer with frequency 3 "delivers the third partial tone to the C of 32 current pulses per second; the current changer of the frequency 6w supplies the third partial tone to the C of 64 current pulses per second and the sixth partial tone to the C of 32 current pulses per second. The current changers of the frequency 12η, 24η, 48η and 96η deliver the third partials to the C of 128, 256, 512 and 1024 current pulses per second. Each also delivers the sixth partial to the note one octave lower and the twelfth partial to the note two octaves lower than the one to which it delivers the third partial. The current changer of the frequency 5 "supplies the fifth partial tone to the C of 32 current pulses per second, while the current changer of the frequency 10", 20η, 4on and 8on the first partial tones to the C of 64, 128, 256 and 512 current pulses per second Deliver second. Each also delivers the tenth partial to the C one octave below that to which it delivers the fifth partial.

In Figures 3 and 3a, the fact that a given current changer has multiple circuits feeds, expressed by a series of concentric circles, which correspond to imaginary slip rings (since the current changers shown are fixed armatures to have). Each of the inner circles corresponds to the one terminal of one of the current changers associated anchor windings, while the outer circle represents a slip ring, to which the other terminal of each anchor winding is connected. The usual brushes lie on these slip rings.

The switches are. According to the drawings (Fig. 2, 3, 3a and 4) springs 49, 49 "to 49 ', those of the first, second, third, fourth, fifth, eighth, tenth, twelfth, and sixteenth Partial tone. Each spring is connected to that current changer, its frequency is such that it provides the vibrations of the required frequency. The different, Circuit springs controlled by a given key then short-circuit when the key that controls them is depressed. The electrical connection is established with the adjustable screws 53 in the metal rods 54, 54 ** etc., which in turn connected to the primary coils 56, 56 "etc. and from here to the common return line 48 are. The secondary coil 58, which is in inductive relationship with the various primary coils 56, 56 ", etc., feeds the line line and the telephone receivers connected to it.

By means of the arrangement described, one obtains changeover contacts from the main set of current the first, second, fourth and, if desired, also the eighth and sixteenth partials. From the auxiliary clause for the third partial you get the third partial and, if desired, the sixth and twelfth; from the subordinate clause for the fifth partial tone one obtains the fifth and, if desired, the tenth

Partials. These partials are perfectly correct in mathematical and musical terms and the rising waves connected by the gear train give the various notes and sounds correctly in mathematical and musical relation, as far as that System of constant temperature allows this. These relationships are constant and immutable. The partials are

ίο perfect and the notes and sounds are also perfect, like that of a piano or an organ.

Until now it has been represented as if one were dealing with pure partials, i.e. H. with simple sinusoidal oscillations. In reality, however, the vibrations in the various windings are usually common not exactly sinusoidal, so that for every partial of the considered class, according to the nature of the generator, a higher partial tone will be present, which can be very weak or even more audible, depending on how far the waves of the generator approach the sinusoidal shape. One can Apply main or fundamental tone set of current changers and different from this one set Derive sets of partials or of tones whose fundamental tones are related to each other. The main or the fundamental set of current changers can either be achieved with auxiliary sets of current changers apply, as shown for example in Fig. 3a, or without such auxiliary clauses of current changers, as shown in Fig. 3b. Or instead of the two auxiliary clauses of To use current changers, which correspond to the third and fifth partial tone, as in Fig. 3a is shown, or, instead of omitting both, as shown in Fig. 3b, one can use the third Apply partial tones and omit the fifth, or you can use the auxiliary clause for the fifth partial and omit the third. In the following, the devices for regulating the sound for a Keyboard in the apparatus shown in Figs. 1 to 27 will be explained. Be later various modified embodiments are contemplated.

Device for regulating the sound or the quality of the

generated notes.

Whether in the described arrangement only one key is pressed down or a series of keys is pressed down at the same time, the first partials or fundamental vibrations always vibrate through the coils 56, provided of course that the switches 55, 55 are closed. Furthermore, all second partial oscillations through the coil 56 ^, all third partial oscillations through the coil 56 *, all fourth partial oscillations through the coil 56 ^, all fifth partial oscillations through the coil 56 ¹ ^ all sixth partial oscillations through the coil 56 ° ", all eighth 6j Partial oscillations through the coil 56 /, all tenth partial oscillations through the coil 56 ", all twelfth partial oscillations through the coil 56 * and finally all sixteenth partial oscillations through the coil 56 '. η ₀ All of these coils act by induction on the circuit which contains the secondary coil 58, the impedance coils 60 and the primary coil 62. This circuit in turn acts by induction by means of the coil 62 on the coil 63, the latter being connected in series with the coil 64. This acts by induction on the coil 65, with which the line lines 68 and 69 and thereby also the devices 70 for the transmission of the tones in audible air oscillations are connected.

Whose circuits can be closed by the shift lever 55 according to need in series with each of the coils 56, 5ο · ^7-56 'and parallel to each other, a group connected by impedance coil 120 (Fig. 3, 3a, 5 and 6). In parallel with each group of these impedance coils 120 is a conductor I2O ⁿ of connected negligible impedance, the circuit according to need by the formwork g ₀ ter 55 ^'1 is opened or closed. A greater or lesser number of impedance coils can be used in each of the groups.

The coils 120 with the switches 155 form a rheostat. A rheostat is available for each partial tone. By moving the switch 55 and 55 ^'1, the resistance of the rheostat and the force of the vibrations which correspond to a given order of partials can be changed arbitrarily. By opening all switches 55 and 55 ″ in a given group, the partial tone supplied by the circuits controlled by this switch group can be completely prevented from affecting the receivers. By setting the various switches, this partial tone can be set with greater or lesser force Thus, by suitably setting the various switches 55, 55 * of the various groups, especially when the oscillations generated by the current changers 2, 3 and 4 are precisely sinusoidal, a skilled player can produce a great variety of different timbres and he can change the timbre at will from time to time.

Device for regulating the volume of the notes of a

Board.

The shift levers 55, 55 ″ correspond in their musical effects in a certain sense

; the stops of an organ, although they are completely different in their construction and their physical mode of operation. By appropriately using the various switches 55 and 55 ^a , an experienced player can, within certain limits, regulate both the volume and the sound of the notes on the corresponding key board. Advantageously, however, the switches 55, 55 ″ are only used to change the tone color. Another device has the task of regulating the volume of the note or notes on a key board, whatever the tone color may be. Various devices are to be used for the stated purpose According to the inventor, the best is the one shown schematically in Figures 1, 3, 3a and 6, and in detail in Figures 18 to 23. First of all, the principle of the device will be explained with reference to the overview representations in Figures 1, 3 18 to 23. Impedance coils 60 are connected in series with one another , 130 (in schematic Figures 1, 3, 3a and 6 the contact plates 130 are shown as contact buttons) The end terminals of the rows of impedance coils are connected to the outermost contacts plates 130, and the connection of each of these impedance coils to the next is also connected to the corresponding contact plate 130. One of the outermost contacts 130 is connected to one terminal of the coil 62, while the other terminal is connected to the one terminal of the coil 58. If the contact lever 61 is on the outermost contact to the left in the arrangement shown, then all impedance coils 60, of which only a small number is shown schematically, are switched into the circuit of the coils 58 and 62 and result in a strong impedance. However, if the brush or contact lever 61 is moved to the right, then the impedance coils 60 are gradually switched off from the circuit until, when the brush 61 reaches the contact plate furthest to the right, all coils 60 are excluded from the circuit. Thus, by moving the brush 61 from point to point, the impedance of the circuit containing the coils 58 and 62 can be changed within wide limits. The change in impedance also changes the amplitude or amplitude of the vibrations transmitted from the current changers 2, 3 and 4 to the devices 70 and thereby changes the volume of the notes produced by these devices.

The device described forms an electrical amplification and attenuation device, through which the volume of the Notes slowly or quickly and, depending on the needs, more or less intensified or weakened can be. To get the best results, there are two things to consider:

1. To achieve muted and calm crescendos and diminuendos it is necessary to to have a sufficient number of impedance coils 60 or their replacements so that the There is hardly any change in the volume when the brush 61 is moved over the contacts 130 is perceived. In the schematic Figs. I, 3, 3a and 6 are for illustration of the principle only a few coils 60 are shown.

In practice, however, it is advantageous to use a large number. With a built Machine, the inventor first used 32 impedance coils, later the Apparatus improved by increasing the number of impedance coils to 48; and during a small number if they relate to self-induction and resistance to each other and to the coils 58 and 62 are in proper proportion, perhaps satisfied, so would but a larger number should not be inappropriate.

2. In order to achieve calm, muffled crescendos and diminuendos, it is also necessary that the switch or the brush 61 does not interrupt the circuit when it is moved across the contacts 130, but only changes the impedance. A sudden interruption of the circuit not only results in the piece of music being stopped and interrupted, but also causes very annoying noises in the receiving apparatus 70 at the moment of the interruption. To avoid this difficulty, the arrangement is as shown in FIGS Way trained. In these figures, 60 denotes the mentioned impedance coils, 130 the contacts and 6a the contact levers or brushes. The contact plates are fastened between bracing rods 131 and 132 by bolts 133 and screw nuts 134. The two outer contact plates 130 are advantageously made significantly wider than the other contact plates, since the switching lever 61 then securely closes the contact in its outermost positions without requiring particularly careful adjustment. The contact plates 130 are separated from one another and from the metal rails 13a, 132 by plates 135 made of insulating material, while the bolts 133 are isolated from the plates 130 by sleeves or cylinders 136 made of insulating material which surround the bolts (FIG. 23). In one implemented machine, copper was used for the plates 130, paper for the insulating plates 135, iron or steel for the rails 131, 132 and iron or steel for the sleeves 136

Hard rubber related. However, any other suitable material could also be used. For larger machines with higher voltages, the insulating plates 135 and the insulating sleeves 136 are made of a better insulating material such as asbestos 0. In order to reliably establish the connection with the corresponding coil 60, each of the conductive rails 130 is provided with an attachment 13 or ³ to which the wire 137 is soldered, which electrically connects the rail to the impedance coils.

After assembling the panels or rails 130, the insulating panels 135, the Rails 131, 132 by means of bolts 133 and of the nuts 134 becomes the part of the plates 130, 135 over which the brushes or Switch 61 move, well filed. This is where the insulation between the individual panels is made 130 and 135 tested and the plates are in the manner described with the impedance coils 60 connected. The switches or brushes 61 made of copper or another suitable one Materials are rotatably connected to the conductive lever 141 at 140 and are spring loaded 6i ″ or in any other suitable manner in contact with the surfaces of the plates 130 and 135 held. So that the impedance of the circuit changes gradually without the circuit is broken, a series of contact levers or brushes 61 are of different types Arranged length, as can be seen from Fig. 28, so that one or more of these contact levers at any moment and at each position of the lever 141 is in contact with one of the contact plates 130. at In the illustrated embodiment, four contact levers are shown. However, it can also a smaller number is sufficient if the parts are designed to fit well. The lever 141, which carries the contact lever 61 is rotatably mounted at 142 and at 143 by a rod 144 with the arm 145 of an oscillating shaft 146 the other arm 147 of which is connected by a rod 148 to the arm 149 of the foot lever 95 communicates. This foot lever can be rotated on a rod 151 between posts 152 stored, which are arranged between the pedals of the pedal keypad. At 154 is a Brake lever 153 supported, which by a spring 155 against the front end of the lever 141 is pressed so that the latter and thereby the contact lever 61 remain in any position, in the. they are brought by the player.

The end of the game can use the pedals 95 to quickly move the contact lever 61 into any position bring and thereby change the volume of the notes from a minimum to a maximum, or the other way around. Further details regarding the impedance coils 60 are provided below explained.

The different voice keyboards.

In Fig. 3 the circuits are shown for one keyboard only. However, the same type of connection also applies, as shown in FIGS. 5 and 6 and in FIGS. 10, 20 and 21, to the other keyboards. The sets of contact springs 49, 49 * to 49 ^! 'are repeated for each keyboard, as well as the contact screws 53, the contact rails 54, 54 ^a to 54', the primary coils 56, 56 "to 56 *, the impedance coils 120 and the switches 55, 55a for regulating the circuits, the secondary coil 58, the impedance coils 60 with the contact plates 130 and the brushes 61, the 'lever 141 (Fig. 21) for the contact lever 61, and the pedal 95 (Fig. 20 and 47) with the connections for transmitting the movement to the lever 1:41 and the brush 61. All of these pieces are or can at least be repeated for each of the four keyboards, and in each case the circuit belonging to a keyboard and receiving the primary coil 62 acts by induction on the circuit in which the coils 63 and 64 are switched on The latter, in turn, acts by induction on the coil 65 and the long-distance lines 68 and 69, which lead the vibrations to the individual apparatus 70. All parts that are described for a keyboard are therefore also applicable to di e other keyboards are provided, only the number of current changers is kept as low as possible due to the costly same, although the same should, if this should be desired, also be specially arranged for the different keyboards. In the simpler and cheaper arrangement shown in the drawings, each current changer has multiple connections to the keyboards and each current changer is connected to the contact devices on each of the keyboards, which have already been described for a keyboard. The arrangement is sufficiently clear from FIGS. 5 and 6 and therefore does not require any further explanation.

It can be seen that the player or players of a keyboard have a certain tone coloration and another keyboard can give a different no different tone coloring by different sets or combinations of overtones in the different keyboards using, or by sounding the same orders of parts in the different ones Keyboards give different strengths, or by finally being named by both Make use of funds. Furthermore, a different volume can be communicated to each key board and the volume may from time to time be independent of the other keypads by setting the pedal appropriately

95 and the contact lever 61 are changed, which belong to the keyboard in question.

The dynamic keyboard.
(Fig. I, 3, 5, 6 and io.)

The changes in volume by using the pedals 95, and thereby the contact levers 61, with reference to the corresponding contact plates 130, can thus be effected slowly as one wishes. They can also be brought about very quickly. Completely independent whether slow or fast, find the changes in volume produced in this way necessarily taking place gradually when a larger number of coils 60 are used becomes as it should be to get the best effects. However, using the Keys 67, 67 of the dynamic keyboard adjust the volume of the notes as desired in larger ones or lower levels and are instantly enlarged or reduced (Fig. 1, 3, 3a, 5, 6 and 10). A series of impedance coils 66 are connected in series. The buttons 67. 67 of the dynamic keyboard (so called to distinguish it from the voice keyboards whose Keys correspond to notes and are denoted by 45) serve to these impedance coils to influence, as can be clearly seen from the drawings. So closes in the drawings the leftmost or lowest dynamic button 67 the circuit of coils 63 and 64 across all impedance coils 66. The second key from the left closes the circuit across all coils 66 except for one.

The third button completes the circuit for all but two, and so on completes each of the Keys 67 the circuit across all impedance coils that are above her in the series. Every - of the buttons 67, starting from the left, closes the circuit with a smaller number of Impedance coils as the coil below her in line until the one furthest to the right Button 67 is reached which, as the drawings show, the circuit independently of the coil 66 closes. So each of the buttons 67 gives the circuit that the coils 63, 64 to Transmission of the vibrations, contains, a different amount of impedance. . These Changes in the impedance occur when an interruption of the current is avoided, instantly. Also the volume of the notes generated by the devices 70 is changed with the same rapidity. The dynamic keys 67, 67 are shown in Figs. 1, 3, 3a, 5 and 6 as mere switch buttons. Such an arrangement would be possible. However, these keys are advantageously designed to form a key board, which is very similar to that of a piano, as shown in Fig. 20, and they are arranged to control circuit breakers or switches, which electrically the switch buttons 67, 67 are equivalent (Fig. 1, 3, 3a, 5 and 6). So can with Smaller instruments used power supply devices in place of dynamic keys which are similar to those used in Figs. 1 and 2 for the voice buttons. the Springs 49 moved by these keys are then connected, for example, to the coils 66, as are the contact buttons in the schematic figures. The the contact screws 53 supporting metal rail 54 is connected to one end of the coil 64, the the other end through the coil 63 with the contact spring 49 lying furthest to the right connected is. In the case of a larger instrument, a device moved by air pressure are used, the action of which is controlled by the dynamic button, and which in turn moves the switches.

If the dynamic keyboard is not used, the furthest to the right can be used standing key 67 (FIGS. 3 and 10) or any other key in a suitable manner, set to leave the gambler's hand free for other purposes until he becomes dynamic Wants to use the keyboard again.

Fig. 10 shows the voice keyboards and the dynamic keyboard rearranged in such a way that one player can use the four voice keyboards (three hand keyboards and one foot keyboard) or one or the other of them, while another player can use the dynamic keyboard and the various switches 55 , 55, 55 ^a , which regulate the various orders of the partials in the four voice keyboards. The four booster pedals 95 are advantageously arranged so that two of them can be moved by one player and two by another player. However, the entire arrangement is such that a player who plays on one or more hand keyboards and the foot keyboard can also use the pedals 95, the switches 55, 55 ^s and the dynamic keys 67 up to a certain range. . However, it is advantageous if there are two players.

In FIG. 10, the groups of switches 55, 55 ^a , which are at the same height as the three hand keyboards 45, ^{correspond to these keyboards, while the switches 55, 55 ′ 7} , which are at the same height as the dynamic keyboard, the pedal keyboard correspond (Figs. 10 and 6).

It can be seen that a) each of the keys 45

With the exception of the highest keys on the keyboard, a number of vibration series is monitored, whose frequencies correspond to the various partial

j tones correspond to the note for which the! Button is arranged, b) that the partials j vibrations corresponding to an order

through a coil, and the oscillations corresponding to the other partials of the other orders go through other coils 56,56 ^, that is, each order of the partials has a special coil, c) that by switching on the various buttons or switches 55 and 55 ° any one Order of the partials, which the instrument possesses, can be brought into effect, d) that by using the various switches 55, 55 ^a , which monitor different orders of partials, an experienced player, especially if the current changers 2, 3 and 4 are strict Deliver sine waves, can achieve a great variety of tonal colorations by mixing the different higher partials or overtones with the fundamental or first partial, the number of periods of which may be given by η , the frequencies of which are zn, 3η, 4 «, $ n, 6n, 8n, ion, 12η and τβη , and the fundamental tone and the individual overtones are given the desired strength, e) that the experienced player tones of a tonal color on one voice keyboard and tones of different tone color on each of the other voice keyboards, f) that by suitable adjustment of the switch lever 61 (Fig. i, 3, 3a, 5, 6 and 18 to 23) the volume of the notes on each keypad can be changed quickly or slowly, but without jerky interruptions, finally g) that the volume of the tones produced by the devices 70 can be changed by adjusting the keys 67 , 67 of the dynamic keypad can be changed jerkily by larger or smaller amounts.

Each participant can still adjust the volume of the tones on his connection set Adjust the setting of the shift lever 73. The impedance coils 71, the contact plates 72 and the switches or brushes 73 can be arranged in the same way as the impedance coils 60, the contact plates 130 and the contact lever 61 according to FIGS. 18 to 23. The Contact levers 73 are connected to a lever such as 141, which is actuated by a brake such as 133 and springs 155, as shown in Fig. 20, is held in an arbitrary position. The impedance coils 71 can, however, also be arranged in any other suitable manner.

The device for transmitting the vibrations.

It can be any suitable device

can be used to transfer electrical vibrations into audible air vibrations.

For example, ordinary telephones can be connected to trunk lines 68 and 69 would and would produce more or less good music. The best arrangement the

Inventor used to transmit the vibrations in audible music is illustrated in FIGS. 24-27. Each of the transmission devices 70 consists of a horn 74 which is closed at one end by the membrane 75. This is set in oscillating motion by the electric current waves from the long-distance lines 68, 69 by means of the coils 76. The coils 76 are wound around the poles of the common field magnets TJ. The diaphragm 75 and magnet JJ are mounted for convenience in the conventional cylindrical housing 78, the mouthpiece of which is screwed down in the conventional manner to clamp the diaphragm in place. The mouthpiece 79 is provided with a cylindrical extension sleeve 79a into which the lower end of the funnel is fitted.

Instead of a permanent magnet, as shown in FIGS. 24 and 25, a Electromagnet are used, the coils 76 of which receive the current pulses from the lines 68 and 69 are obtained while the excitation coils 80 of the cores 81 are fed by a local battery 82 will.

The telephone receiver can of course be completely independent of the horn 74 can be used, but the effect is less than satisfactory.

For the sake of simplicity of illustration and to avoid confusion, FIG. 3 shows 3a, 3b etc. a common return line 48 is shown, with which one end of each armature winding connected is. However, it would be advantageous to have multiple return lines in common to use, one for the first partial, a second for the second partial, etc. If a single common return line is used as shown in the figures, then each armature winding should be as much and the various primary coils 56, 56 '' etc. so little Impedance obtained that when the different partials are used simultaneously, only one small amount of backward slip on the part of the currents belonging to a partial tone which occurs to other partials. The embodiment of the apparatus shown in Fig. 32 eliminates the difficulties degraded. According to this figure, a single primary coil becomes of very little resistance used as a common return for all the different orders of the partials. -. Even if several keys on the same keypad are pressed down at the same time, due to the arrangement of the circuits, a certain amount of backward slippage of the to Electric currents or vibrations associated with a key through those circuits which belong to the other pressed keys. The greater the impedance of the Armature windings with respect to that of the primary coils 56, 56 ", etc., the less

this effect occurs. The sounds will be | however, if the one note is on the one keyboard and the other is played on the other keyboard, be more independent than if all notes are played on the same keyboard.

The different arrangements the circuits and current changers.

The various arrangements of the circuits are shown in Figs. I, 3, 28, 29 and 3a.

a) "With a single set of circuits as shown in Fig. 1, a good musical effect can be achieved. The electrical amplification device, especially the embodiment shown in FIGS. 18 to 23 offers a delicate and delicate one Device for regulating the volume of the sound and the use of several keyboards, each of which is equipped with a suitable reinforcement device s makes it possible to change the timbre and the melody to stand out, but the accompaniment to step back even if there is only a single set of circuits in each keypad is applied.

b) With two or more tone sets for a keyboard, a greater variety of musical effects can be achieved. These two tone sets can be produced by the generators which have the same frequency but produce vibrations of different waveforms (Fig. 28). The different waveforms correspond to different timbres. This is true even if only a single set is used by power circuits, which is supplied from the generators 2, 2, while another single set is fed by circuits of the auxiliary set of generators 2 ^a. Whether the main set of generators 2 is used alone or in conjunction with an auxiliary set of current changers 22, a greater wealth of musical effects and expression is made possible by using the basic set of circuits to create one or more sets of circuits unites which correspond to partials that are octaves of the fundamental.

c) When multiple sets of circuits leading to different orders of partials belong, are used, then it is possible to use only such auxiliary clauses with the basic tone set which can be fed from the fundamental set, as in Figs. 28 and 29 shown.

d) A different group of current changers can be used for each order of partials can be used as shown in Fig. 3, whereby not only the first, second and fourth Partial, but also the third, fifth and sixth partial is generated.

e) The use of separate groups of current changers for all the different ones Orders of partials is expensive, however, and the system shown in Figs. 3a and 3b, in which a main set of current changers 2 is used, of which the first, second and fourth partial and if desired also the eighth and sixteenth partial is derived, in connection with an auxiliary set of current changers 3, from which the third and, if desired, the sixth and twelfth partial tones are derived be, with or without another auxiliary set of current changers, of which the fifth and if the tenth partial is derived, there are the greatest number of partials in the lowest number of current changers and lowest costs.

f) In the system of equilibrium temperature, as it is assumed here, are the third, sixth and twelfth harmonics that go along with the first, second, fourth, eighth and sixteenth partial tone derived from the one main set of generators 2, as shown schematically shown in Fig. 30 are decidedly imperfect and cannot be used as freely become, like the perfect third, sixth, and twelfth partials.

g) In the system of equilibrium temperature, the derived fifth and tenth are Partials belonging to the system shown in Fig. 31 are so pronounced imperfect that they are used very little and in very special cases can.

A different arrangement ^ ^er i ₀ o devices for the regulation of the timbre and the devices for the regulation of the expression.

Instead of using the device shown in FIGS. 3, 3a, 6 and 10 to 23 for regulating the tone color and the volume, various other means can also be used for this purpose. Instead of changing the volume of the individual sets of partials on a keyboard or the volume of the notes on a keyboard by changing the resistance and the self-induction of a circuit, similar results can also be achieved by changing the mutual induction between the device for transmitting the vibrations and the circuits to the Absorption of the vibrations can be achieved. An arrangement serving this purpose is shown in FIGS. 32 to 35a, of which the overview (FIG. 32) shows the connections between the rails ^{54, 54 a} etc. and the mentioned coils 56, 6 ^{a of} a key board as well as the

Devices for transmitting the vibrations shows. Those monitored by the keys Connections between coils 56, 56 "and the rails 54, 54 ^ etc. as well as the current changers are in the earlier figures arranged manner shown. The overview in Fig. 33 shows the coils 56, 56 ", which correspond to the different orders of the partials for one of the four keyboards with the connections between this keyboard and the devices for transmitting the Vibrations. Fig. 34 shows the arrangement of the four voice keyboards (the three hand keyboards and a foot keyboard), the dynamic keyboard, the switch 55 for each keyboard to interrupt the circuits of the coils 56,56 '' etc. which correspond to the various orders the partials of that keyboard, and the pedal keys 95, 95, which correspond to the four Keyboards correspond to and independently regulate the strength of these partials to serve. Figures 35 and 35a are partial sectional views along a plane parallel to the length the registers 97 or parallel to the length of one of the keys 45 of the keyboard and illustrate the connection between registers 97 and the induction devices they monitor and the connection between the boost pedals 95 and the induction devices they monitor. Fig. 35 shows the front part and FIG. 35a the rear part of the device.

The switches 55 (FIG. 32) can be used to allow any order of partials to act on the secondary circuit 58, or to prevent any effect on this circuit. By moving the various primary coils 58, which are arranged on the various independent movable coils 85 (Fig. 33, 35 and 35a) more or less close to the respective primary coils 56, 56 ^'1, etc., which is wound on the laminated soft iron cores 83 the relative strength of the various partials can be changed as needed. Each spool 85 is arranged on a rail 86 that runs in the grooved wheels 87. Each of the rails 86 is connected to the register 97 by a link 91, a swing arm 92, a swing shaft, a swing arm 94 and a link 96 (Figs. 35 and 35a). The primary coils 62 belonging to the various keyboards act in the same way by induction on the secondary coils 63, which are wound on coils 85 which are mounted in the same way as the previously described coils 85, but instead of the registers 97 in a similar manner with the Pedals 95 are connected (Figs. 34 and 35).

36 shows a further modified embodiment in which the volume!

of the different partials is changed independently of one another by the the primary coil belonging to this order of Teutons, and the primary current by sending a greater or lesser number of parts. The switch 202, which is in touch stands with the various buttons that correspond to the terminals of the various Coil parts are connected, serves to produce the necessary regulation. One Impedance coil 204 is connected in series with each primary coil for a greater gain of the current flowing in a given primary coil when the number of effective turns of the primary coil is decreased.

37, the primary coils 56, 56 ¹ ^ etc. act on subdivided secondary coils 205. The number of working connections in each of the secondary coils can be regulated by the associated switch 202, which is centered at 203. The various coils 205 are each connected by an impedance coil 204 to a primary coil 206, which in turn acts by induction on the secondary coil 207, which corresponds to the secondary coil 58 in FIGS. 3, 3a, 3b, etc.

The principle of regulating the volume of an electrically generated sound through regulation the intensity of the induction effect of one coil on another by making it effective Changes in turns in one of these coils can be used for purposes other than regulation the volume of the individual partials of a key board are used. It can be seen that, for example, the intensity of the effect of the individual keyboards corresponding Coils 62 on the coil 63 could be regulated in the manner indicated, as well as the intensity of the effect. the Bobbin 64 onto bobbin 65. The inventor thinks it is more advantageous, however, to regulate the intensity of the effect of the coils 62 on the coil 63 and of the coils 64 on the coils 63 those shown in FIGS. 1 to 6 and 10, 18 to 23 To make arrangements.

Another way to change the volume of either the various partials of a keyboard or the notes of the various keyboards or the whole is to change the number or character of the circuits or conductors used to inductively transmit the vibrations from one Field to be used for another. An arrangement for this purpose is shown in FIG. 38, according to which each of the primary coils 56, 50 ' ¹ etc., which correspond to the different orders of partials, acts on a plurality of secondary coils 210 which have different numbers of turns, as shown in FIG. 38 . Each of the circuits of this secondary

coils 210 is closed by an impedance coil 214 and a switch 212, the primary coils 213, the induction device for Union of the partials and a common return wire 211 of negligible Resistance. Several secondary coils are located in the induction area of the primary coils 213 215, whose circuits are each through a switch 218, through a primary coil 216 and

ίο an impedance coil 217 can be closed can. The primary coils 216 associated with the various keyboards act by induction on all secondary coils 219, whose circuit is each controlled by a switch 222, can be closed by a further primary coil 220 and a further impedance coil 221 can. The various coils 220 in turn act by induction on the secondary coil 223 which feeds the line wire and the receiving device. By switching the circuits of the various secondary coils connected to a given partial induction device in Belonging to a given keyboard, closes or opens, can be the strength of the corresponding Order of partials in those tones that correspond to this keyboard from zero can be regulated up to a maximum. In the same way, by moving the switch 218 belonging to a given keyboard regulates the strength of the notes on that keyboard will. By moving the switch 222 the strength of the totality of the tones can be regulated will.

39 and 40, which must be considered in conjunction with FIGS. 35 and 35a, show an embodiment in which the effect of a primary coil on a secondary coil (for example 56 or φ ^α on the secondary coil 58 or 62 on 63) is more or less regulated by placing a conductive screen, such as a thick copper plate, between them. The effect of the screen increases as the copper plate is moved between the coils. The induction effect of the primary coil on the secondary coil is a maximum when the effect of the copper plate is a minimum and vice versa. Instead of using a metal plate as a screen, a self-contained coil of copper tape or wire can also be used.

Another way the volume

of tones by changing the intensity of the inductive effect of a circuit on the To effect others consists in converting a third inductive circuit into inductive Brings relationship to the first circuits and then opens the third circuit and closes, or changes its resistance; or by using multiple circuits and a greater or lesser number of them closes. The first method is in the above Part of Fig. 44 is shown, the latter in the lower part of the figure. 300 are the inductive ones Circuits. 120 are impedance coils and 301 switches to switch the circuits through the impedance coils 120 to close, while switches 301 ^ are used to control the screen coils short to close. In the upper part of the figure are several of the shielding circuits used in every induction device. With the circuits there are resistors 335 in Line.

In the same way, the inductive effect of the coil 62 on the coil 63 can thereby be changed would involve changing the impedance of a coil 302 wound on the same core as the coils 62 and 63. An arrangement of this type is shown in Fig. 44, according to which the coils 60 and the switch 61 (Figs. 18 to 23) are connected in "series with the mentioned coil 302.

Instead of connecting the impedance coils 60 in series as shown in Fig. 3, 6 etc., it would also be possible to connect them in parallel to each other. One embodiment this type is shown in Figs. 45, 46, 47 and 48, 45 of which are partly schematic, for Partly a structural front view, FIG. 46 a schematic, partly structural view and FIG. 47 is a sectional view taken along line 86-86 of FIG. 46. The Fig. 47 shows the connection between the pedals 95 (FIG. 20) and the one influencing the switch Frame 313. Figure 48 is a front view of the switch affecting Frame. According to these figures, the impedance coils are connected in parallel with one another are, with their one terminal commonly connected to the terminal of the coil 62, while the other terminal of each coil 60 with an adjustable contact screw 305 pier insulating bar 306 is in connection. This insulating rail 306 is carried by a metal rail 314. In the ends of the contact screws 305 platinum pins 307 are set, which platinum pins are opposite at the end of the lever 308. These levers 308, which are mounted on a rod 309 and are inserted into slots of the metal rod 310, The coils 60 correspond to and monitor. The notched rail 310 and the rod 309 are electrically connected to one terminal of the coil 58, as in FIG. 45 and 46 shown. Springs 311 (a spring is provided for each lever 83) seek the Pull lever downward so that each lever, when not through frame 312 in its upper position is held, a secure electrical connection or good contact with the rod 309 and with the corresponding contact pins 307. on

the rod 309 is also supported by the frame 312 for lifting the shift lever. This Frame is stiffened at its rear end by a rod 313 and carries at his front end a stepwise stepped rail, which when rotating the frame gradually lifts the levers one after the other in the direction of the arrow (Fig. 47) and thereby the Circuits of the coils 60 interrupted one after the other. So moves with this arrangement the frame 312 in the direction of the arrow (Fig. 47) then the impedance of the Coils 58 and 62 enclosing the circuit gradually enlarged when the circuits of the coils 60 are interrupted one after the other. The oscillation width or amplitude the waves transmitted from that circuit to the receiving devices 70 consequently gradually reduced in size. However, the frame 312 becomes in the opposite Moving direction, then the impedance of the circuit in question will gradually decrease and the amplitude or amplitude of the transmitted to the receiving devices Waves gradually enlarges. The frame 312 is with the pedal 95 by a connected at 143 to arm 312 "of the frame Rod 144 connected, the other end of which with the arm 145 of the Rocking shaft 146 is connected. The oscillating shaft in turn carries an arm 147, which by a link 148 is connected to the arm 149 of the pedal 95.

Only a few coils 60 are shown in FIGS. 45 and 46. In practice, however, it becomes larger Related number of the same.

Instead of connecting the impedance coils 120 ^{in series with the coil 56, as shown in FIG. 3> 3 a} J 6 etc., they could also be shunted to that coil, as shown in FIG. 49. It is also possible to achieve certain changes in the strength of the vibrations and the volume of the notes if capacitors 320 and resistors 321 are used instead of the impedance coils shown in FIGS. 3, 3a and 6, as shown schematically in FIG. wherein the capacitors are arranged in a group of different capacitance. A certain regulation can also be achieved if capacitors 324 and resistors 325 are used for the impedance coils 60 shown in FIGS. 1, 3 and 6, as shown in FIG. 50, or if instead of the impedance coils 66 (FIGS. 3, 6 and other) capacitors 322 and resistors 323 can be used as shown in FIG. The capacitors 322 can also be connected in parallel, as shown in FIG. 51, which corresponds to FIG. 46, but instead of the impedance coils 60 shows capacitors 322 and resistors 323. The parallel connection of capacitors is cheaper than the series connection. Although it may be possible for an experienced player who knows his instrument to achieve when using capacitors instead of the impedance coil 120, 60 and 66 certain outstanding musical effects, yet it is generally shown in FIGS. 3, 3 ^Λ and 6 and FIGS. 10 to 23 of the arrangement shown in FIGS. 50 and 51 for regulating the volume

j strength preferable.

Instead of a single secondary coil 58 for

To use a keyboard on which all coils 56, 56 ″, 56 * etc. act, as shown in FIGS. 3, 3a and 6, a special secondary coil can also be used for each of the primary coils mentioned, for example in FIG Fig. 36, 37 and 32 shown, or so on to use a key board rather than a single secondary coil 58 for all of the primary coils 56, 56 ^'1 shown 6 as shown in Fig. 3, 3A and barren so to use a lot of primary coils 58, as Primary coils are present, as shown in Figs. 32, 36 and 37, a number of secondary coils can also be used for a keypad and a number of primary ^{coils 56, 56 a} , 56 * etc. in the induction area of one or more of these secondary coils or each of them are switched as shown in FIG.

It is also possible to use a single secondary coil 58 for a keypad, and instead of the various primary coils 56, 56 ¹ ', 56 *, etc., a single primary coil made of thick wire or a series of wires connected in parallel can be used. The coil must then have a very low resistance with respect to the impedance coils 120, which are switched on by the switches 55. An arrangement of this type is shown in FIG. Coil 234 of very low resistance is connected between switches 55 and common return 48 in place of the individual primary coils 56, 56 ", etc. previously described common primary coil 234 is preferable.

Similar considerations apply to coils 62, 62 and 63. A single coil can also be used 63 are used, on which all coils 62 then act, as is the case, for example 3, 3a and 5, or one coil 63 may be used for each of the coils 62 as shown in Fig. 32, for example. Finally, a number of Reels 63 are used with a series of reels 62 which are placed on each of the reels 63 act as shown in Fig. 41, for example.

Instead of using a series of armature windings which correspond to the different orders of the partials that correspond to a current changer

Claims (8)

for which notes from different altitudes are to be supplied, vibrations can also be transmitted in any other suitable manner from the current changer to the various circuits. According to the drawings, the current connection devices, the springs 49, 49 / etc. (Fig. 1, 3 to 6, 28 to 31 etc.), the switches 282, 282 ^ etc. are combined with the keys of a key board, which is similar to that of a Piano or organ, and are influenced by the keys. First of all, it can be seen that the '. Current circuit devices can be operated in other ways; there second. 15 some musical instruments are played automatically by music tapes or the like, which in some cases influence the keys of the piano or other instrument through suitable mechanisms and in other cases directly the hammers, valves or other devices, these music tapes or others can be played automatically Acting devices can be used to set the current circuit devices or their equivalents in operation, either by moving the buttons 45 or in some other suitable manner. By means of the rheostats 12, 12 (Fig. 8), of which, what must be observed, one is provided for each current changer (in the embodiment shown in Fig. 8) the builder or tuner or player can control the intensity of the excitation of the current changer field magnets within continue to change limits and can thus give each current changer the voltage that it considers the best. By connecting the armature coils 32 or 40 of a current changer in different numbers to the different groups which serve for partials of different orders in different notes, he can vary the relative strength of these partials within wide limits to produce the required effects. A very clear illustration of the last point is given by FIG. 14, in which of the 48 armature coils 40 20 are combined into a group in order to supply the first partial of the C of 256 oscillations (c1). Twelve others are connected to another group to produce the second partial of the c of 128 vibrations (c) and eight in another group to produce the fourth partial of the c of 64 vibrations (c); eight others in another group to create the eighth partial to the c of 32 vibrations (c1). Now, by removing coils from a group that is too loud and adding coils to a group that is not loud enough, an attentive tuner can give whatever volume he thinks is best. In this way he can prepare the instrument for the player who uses the various expression devices to regulate the music in the manner he wishes. Ρλ tent claims: 1. Apparatus for generation and transmission of music by electrical means, in which the partials composing a musical sound in particular Circuits are generated and then combined in the long-distance line, characterized in that that to reproduce all the subtleties of musical expression with the keyboard several, independently of each other controllable generator circuits are connected, whereby the individual partials occurring in a sound in their • Strength can be changed or switched off as desired, and also a device for changing the amplitude which is independent of the keystroke the composite current waves corresponding to the sound is present, by means of which regulates the tone level when the button is depressed and increases or decreases swelling of the tone can be produced. 2. Apparatus according to claim 1, characterized in that with the Keyboard-connected sets of generator circuits correspond to harmonic overtones of different ordinal numbers. 3. Apparatus according to claim 1, characterized in that in series with each of the coils (56, 56 ") to which the Partial oscillations of the current changer are transmitted, a series of one after the other or impedance coils (120) connected in parallel, of which can be switched on more or less by a series of switches (55), to change the timbre. 4. Apparatus according to claim 1, characterized by a larger number of impedance coils (60) connected in series and connected to contacts (130) of gradually increasing impedance, of which a greater or lesser number through the contact lever (61) into the circuit, the coils (58 and 62) serving for transmission can be switched on when the contact lever (61) is moved from the pedal (95). · ■ 5. Apparatus according to claim 1, characterized through the use of a plurality of keyboards, one or each of which in the in Claim 1 characterized way independently of the rest of the timbre of Can be changed from time to time. 6. The device according to claim 1, characterized by the use of several Keyboards connected to and powered by a single set of vibration controllers, wherein by means of the one characterized in claim 1 belonging to each keyboard Switching devices on the keyboards fed by the same power generator. Sounds of very different timbres and strength can be produced. 7. Apparatus according to claim 1, characterized by the addition of a designed as a keyboard switching device, the keys (67) by switching on of resistances or impedances (66) the amplitude of the current waves before their Allow the transmission to the long-distance line to change suddenly and thereby a jerky one Allow changing the volume of the sounds. 8. Apparatus according to claim 1, characterized in that the excitation windings the individual current changers in independent or parallel circuits and the intensity of the excitation of the individual current changers can be regulated independently of one another, for the purpose, the vibration series, each with the required force, on the connecting lines transferred to. In addition 7 sheets of drawings.