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You selected inventions in category Music

  • Motorized Microphone Bar - STEREOBLADEMotorized Microphone Bar - STEREOBLADE
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      Description

      The STEREOBLADE is the prototype of an automateable microphone bar and with it the solution for numerous problems with live transmissions and stereo recordings. With the STEREOBLADE sound engineers receive for the first time the possibility to try out different microphone positions without having to leave for it the listening place. Differences in sound can be compared so directly and be judged on a real-time basis.

      With an intuitively working remotesoftware the most stereo techniques can be placed in current time. Besides, the system allows millimetre-exact positioning of the microphones by manual input. Inclination, opening corner and capsule distance of the microphones can be started numerically and if necessary be stored away directly as a Preset.

      The Stereoblade is in the essentials a carrier system which is compatible with adaptors and fixtures for most microtypes. The user thereby has the possibility to carry out a perfect microphone placement.

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    • Adjustable Neck-Angle Joint for stringed musical instrumentsAdjustable Neck-Angle Joint for stringed musical...
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        Description

        The invention is about the technique and the way of joining the neck and the body of a stringed musical instrument. The two parts are joined together with the use of screws. At their contact points they include a convexo - concave formation which provides absolute contact between the instrument's body and the neck with the ability to rotate laterally in a predetermined manner. Thus making possible to change the angle between the longitudinal axis of the neck and the longitudinal axis of the instrument's body. The neck is changing its angular position relative to the instrument's body regulating the space between the strings and the upper surface of body, as well as the asked force on the top an acoustic musical instrument or the body of an electric musical instrument, by its strings. The instrument can be easily setup according to the player's personal preferences, such as the "action" and the desirable instrument natural resonance.

        This neck angle variation produces many innovative benefits. Some of them are the following:
        • The ability to use completely different types of bridges on the same electric guitar-like instrument such as a Tune O’ Matic (TOM), a wraparound bridge and a through-body type bridge etc, which require a relatively high degree neck angle (about 2’–3’ degrees) because of their height, as well as a tele-like and a strat-like hardtail bridge etc, which require no neck angle (0’ degrees), simply by adjusting the neck angle. This bridge type option gives the instrument user-player more alternatives in preferences to choose from.
        • Easier instrument setup because the height - spacing between the strings and the fingerboard, often referred to as “action”, can be adjusted not only by a bridge or saddle setting but also by changing the angle of the neck joint, either by tilting the neck downwardly to the instrument body for a lower “action” or upwardly for a higher “action”. This is giving the ability to maintain the height of the instrument bridge which is very useful for acoustic instruments like acoustic guitars, mandolins etc.
        • The spacing between the strings and the upper surface of body, as well as the asked force on the top an acoustic musical instrument or the body of an electric musical instrument can be regulated according to the player’s personal preferences and the desirable resonance. This gives the ability to increase/decrease the tension asked by the strings to the top of an acoustic guitar-like, a hollow body electric guitar-like instrument etc by increasing/decreasing the angle between the surface (top) of the instrument and the neck. The bridge can be positioned higher/lower (if possible, such as in hollow body electrics/ jazz type guitars) or the bridge bone can be replaced with a higher/lower one (acoustic guitars) without any “action” – setup problems. The change of the tension asked produces different vibrations at the top and the chamber of the instrument changing its resonance and its voicing.
        • Good instrument quality because the “in – joint” surfaces form a wide contact area between the neck and the body, even when a neck – angle is featured, giving a very good vibration and oscillation transmission that makes the instrument very resonant.
        • Cost savings because the instrument user-player has all these alternative preferences to choose from without the need to have a different instrument for each different preference.

        More details at:
        http://www.wipo.int/pctdb/en/wo.jsp?WO=2010070363

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      • Sound Hoops - A new way for miking drumsSound Hoops - A new way for miking drums
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          A known problem with miking a drum set is the positioning of the various microphones in a way that they don’t interfere with the playing. For years click-on microphones were the best solution. (So far!)
          A solution that didn’t satisfy drummers and neo-inventors Apostolos and Niko Zaios. As a metal drummer with years of stage and studio experience he saw that the state of the art miking just didn’t work. If you hit them really hard you didn’t just destroy the microphone, but possibly really expensive equipment. In addition to that, the drummer on stage is always back there behind a forest of microphone stands.
          It was the time and accuracy that brought him to come up with a new solution to the old problem.
          The microphone just had to disappear.
          After some thinking and tests he simply integrated them in the rim of the drums, creating not only beautiful and easy to set up drums, but also a great sound experience.

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