A wind instrument neck receiver tension mechanism is provided having a body, a retaining ridge, and a tension band. The body has a lower body end and a upper body end. The upper body end defines a thin collar seating wall, which has at least one notch. In some embodiments there are four equally sized notches. A retaining ridge extends from the thin collar seating wall and a tension band having an adjustable compression ring, the adjustable compression ring disposed between said thin collar seating wall and the retaining ridge. When adjusted to a first position, the compression ring compresses the thin collar seating wall in a uniform compression around a circumference of a neck receiver of a wind instrument.

A wind instrument neck receiver tension mechanism is provided having a body, a retaining ridge, and a tension band. The body has a lower body end and a upper body end. The upper body end defines a thin collar seating wall, which has at least one notch. In some embodiments there are four equally sized notches. A retaining ridge extends from the thin collar seating wall and a tension band having an adjustable compression ring, the adjustable compression ring disposed between said thin collar seating wall and the retaining ridge. When adjusted to a first position, the compression ring compresses the thin collar seating wall in a uniform compression around a circumference of a neck receiver of a wind instrument.

A musical instrument protection system includes a plurality of pad devices each having any shape, a body including an adhesive side, a contact side, and a thickness. The pad device is defined by the adhesive side and the contact side, separated by the thickness which can be any color or design. The contact side may be in contact with a hand of a user during an in-use installed condition, and the adhesive side is configured to be adhered to an outer surface of a musical instrument such that it provides a protective barrier for protecting finished outer surfaces, preserving and sometimes enhancing the acoustics of the musical instrument.

A musical instrument protection system includes a plurality of pad devices each having any shape, a body including an adhesive side, a contact side, and a thickness. The pad device is defined by the adhesive side and the contact side, separated by the thickness which can be any color or design. The contact side may be in contact with a hand of a user during an in-use installed condition, and the adhesive side is configured to be adhered to an outer surface of a musical instrument such that it provides a protective barrier for protecting finished outer surfaces, preserving and sometimes enhancing the acoustics of the musical instrument.

This invention involves the field of tactile control of electronic devices using a sensor that transduces both air pressure and device positional orientation into a set of digitally encoded commands. The invention involves using as input the physical action taken on a musical instrument and generating control information using that input.

New methods and devices for cleaning, drying and sanitizing musical wind instruments are disclosed. According to one embodiment the devices of the invention contain at least the body of the device, inside which are included at least a fan and one or more light emitting sources capable of killing microorganisms. The devices are provided with an internal or external power supply method and are specifically fitted for multiple wind musical instruments either by their shape and design or using various sizes of adaptors to fit multiple musical instruments. The devices are able to dry and sanitize wind instruments in less than 30 minutes of use, before or after playing the instrument.

This presentation exposes the invention of a fully chromatic single-pipe wind instrument, without any mechanisms or keys, capable of covering a register of three octaves. This instrument can take two different forms, the flute form or the saxophone form.

The concept is an ergonomic configuration of construction which allows to obtain equal playing freedom for the ten fingers of the musician and the physical balance of the instrument by the combination of two material factors: firstly a support added to the body of the pipe which is gripped by one hand in the hollow between the thumb and forefinger, and secondly an ergonomic arrangement of the finger holes on both sides of the pipe to strengthen the overall balance.

The objective of this invention is to bring together two qualities which seem hitherto incompatible: on the one hand the possibility of easily playing all the semi-tones of the chromatic scale on a large range, and on the other hand the possibility to play cursive ornementation (pitch continuity in between notes) as well as with semi-rhythmic ornamentation.

For the musician, the interest is to play freely in any tonality without constraints, in particular without using the common half-hole fingerings of flutes and keyless saxophones, and to be able to invest in the tonal world the expressive field of keyless instruments techniques, whether semi-rhythmic ornamentation or cursive ornamentation.

A musical instrument accessory includes a base plate, two supports, a track, and multiple weights. The two supports connect the base plate to the neck of the musical instrument and the track is located on the base plate. The user may customize the musical instrument by putting one or more weights on appropriate positions on the track. This action modifies the weight distribution of the accessory, creates more vibrations, and modifies affect the tone color and response of the musical instrument in the meantime. With experimentation, everyone can create his or her own unique tone color and response by simply shifting one or more weights to different positions on the track.

A musical instrument accessory includes a base plate, two supports, a track, and multiple weights. The two supports connect the base plate to the neck of the musical instrument and the track is located on the base plate. The user may customize the musical instrument by putting one or more weights on appropriate positions on the track. This action modifies the weight distribution of the accessory, creates more vibrations, and modifies affect the tone color and response of the musical instrument in the meantime. With experimentation, everyone can create his or her own unique tone color and response by simply shifting one or more weights to different positions on the track.

A resonance counterweight structure for audio effect article includes a hollow counterweight main body and an assembling section connected with the counterweight main body. The assembling section can be mounted in a predetermined position of a musical instrument. The counterweight main body at least includes an upper wall, a lower wall and a peripheral wall connected between the upper and lower walls. The upper wall, the lower wall and the peripheral wall define a chamber of the counterweight main body. At least one counterweight fine-adjustment unit is received in the chamber. The counterweight main body and the counterweight fine-adjustment unit help the audio effect article to modify the music so as to achieve more idealistic timbre effect. A player can more diversely select or replace the counterweight structure, whereby one single musical instrument can selectively output different timbre effects according to the requirements of different playing situations.