Abstract:
An adjustable, adaptable, hands-free harmonica holder for suspending a harmonica from an existing stand, providing a new method for a performer to play the harmonica while simultaneously playing other instruments. The holder comprising an attachment mechanism for securing the subject apparatus to a stand, adjustable arm or arms extending from said attachment mechanism to support the harmonica, a platform to which the harmonica is mouted, and a sound baffle, said sound baffle being adaptable to both deflect and isolate voice and harmonica sounds.

Description:
CROSS-REFERENCE TO RELATED APPLICATIONS 
       [0001]    Not Applicable 
       STATEMENT REGARDING FEDERALLY SPONSORED RESEARCH OR DEVELOPMENT 
       [0002]    Not Applicable 
       BACKGROUND AND PRIOR ART 
       [0003]    Some musicians play the harmonica simultaneously with other instruments like guitar, piano, accordion, drums, etc. . . . This can be done with a hands-free harmonica holder and the most prevalent harmonica holder is of the harness, or “neck-brace” design, commonly made of wire and designed with a clamping mechanism to hold the harmonica. When used by a performer on stage with amplified instruments and sound systems this neck-brace holder presents certain problems in that: (1) The harmonica is in constant motion in relation to the microphone thereby presenting an inconsistent sound level and tone. (2) A brace can be awkward to wear and the performer&#39;s movement near the microphone is hindered by the bulk of the brace itself. (3) A neck-brace holder requires an aggressive damping device to insure the harmonica is held firmly while the performer moves about. These damps make it difficult to change harmonicas quickly and easily. (4) These problems on the stage can also create problems for the audio engineer responsible for adjusting the volume and tone levels of all the other various band instruments on stage. With a performer utilizing a neck-brace harmonica holder, the audio engineer may need to make quick adjustments between the sound of the performer&#39;s singing voice and that of the performer&#39;s harmonica playing. 
         [0004]    A less common harmonica holder but one with great potential is of the harmonica stand variety. Attempts at this approach have to date produced physically and visually awkward holders that are impractical in use. Some previous harmonica stands involve an entire stand built to hold a harmonica with a large dedicated microphone for the harmonica as well as a duplicate large vocal microphone for the performer to sing into. Other designs feature lame bulky shrouds or horns intended to envelop the harmonica and confine the sound, again to a secondary large dedicated microphone. These stands and holders require the performer to move significantly back and forth in position between the harmonica and the vocal microphone. 
       SUMMARY 
       [0005]    One embodiment of my holder is directed to a harmonica holder designed to be quickly attached to an existing microphone stand, allowing the performer to utilise a single existing vocal microphone to amplify both vocal and harmonica sounds. This provides a new method for a performer to sing, play the harmonica, and simultaneously play other instruments at the same time, by holding the harmonica in a set position in proximity to the performers vocal microphone. 
         [0006]    In a preferred embodiment of the holder I provide for; attaching the holder to an existing stand; mounting the harmonica to the holder; adjustment of and distance of the harmonica relative to a microphone; isolating and directing the harmonica sound towards a microphone via a sound baffle. 
         [0007]    In a preferred embodiment the holder includes an :adaptable sound baffle that acts to either reflect harmonica sound towards the performers existing vocal microphone, or optionally isolate and direct harmonica sounds to a small secondary microphone dedicated to the harmonica. 
         [0008]    According to one embodiment, the sound baffle provides the platform to which the harmonica is mounted to the holder. 
         [0009]    According to one embodiment, the holder includes a support arm or arms that hold the harmonica in a set position in proximity to the vocal microphone. 
         [0010]    According to one embodiment, the holder allows for refined and consistent amplification of an attached harmonica by maintaining the harmonica in a set position relative to a microphone. 
     
    
     
       BRIEF DESCRIPTION OF THE DRAWINGS 
         [0011]      FIG. 1  is a side view of the harmonica holder according to one embodiment, shown damped to the lateral arm of a microphone stand with the sound baffle arranged for use with a single microphone. 
           [0012]      FIG. 2  is a top view of the harmonica holder according to one embodiment, with the harmonica shown positioned in line for insertion into the holder. 
           [0013]    FIG,  3  is a side view of the harmonica holder according to one embodiment, shown damped to the lateral arm of a microphone stand with the sound baffle flipped and an optional small instrument microphone added. The harmonica is shown mounted in the holder. 
           [0014]      FIG. 4  is a perspective view according to one embodiment, with the harmonica shown positioned in line for insertion into the holder. 
           [0015]      FIG. 5  is a perspective view of the harmonica holder according to one embodiment, damped to the lateral arm of a microphone stand. A musical performer is depicted standing in a playing position. 
           [0016]      FIG. 6  is a perspective view of the harmonica holder according to one embodiment, clamped to the vertical riser of a microphone stand. 
           [0017]      FIG. 7  is an alternative embodiment of the holder in use with a single microphone positioned for amplification of both human voice and harmonica playing. The harmonica is shown mounted to the sound baffle. 
           [0018]      FIG. 8  outlines the unformed and unassembled parts of the alternative embodiment shown previously in  FIG. 7 . This illustration could be used as a dieline in cutting or stamping these two holder parts. 
       
    
    
     DETAILED DESCRIPTION OF THE PREFERRED EMBODIMENTS 
       [0019]    Referring to the drawings,  FIG. 1  illustrates an embodiment of the harmonica holder  26  that utilizes the performers existing vocal microphone  15 , and existing microphone clip  16 , to also amplify the sound of a harmonica  14  when mounted to the holder. The holder is shown clamped to the lateral arm extension  17  of a microphone stand and the harmonica is shown positioned in line for insertion into the holder. In this embodiment the holder is attached to the microphone stand by utilizing the knob screw  13  of clamp  7 , and the harmonica  14  is mounted to the holder by sliding the outside edges of the harmonica into channels  9  of braces  8 . In this embodiment, adjusting the position of the harmonica  14  relative to the vocal microphone  15  can be accomplished by adjusting the angle of the holder boom arms  4  and  3  at locking pivot screw  12  and then tightening said screw  12 . In this embodiment, further refining the placement of the harmonica can be done by sliding the telescoping portion of the holder boom arm  2  in and out of holder boom arm  3 , then tightening the boom arm set screw  11 . Locking screw  10  is used to adjust the angle of the support bracket  6  and sound baffle  1 . The angle of the microphone  15  is adjusted by its clip  16 . In this embodiment, the sound baffle also acts as a platform to which the harmonica is mounted and the sound baffle aids in the amplification of harmonica sounds by reflecting harmonica sounds up into the vocal microphone  15 . In this embodiment, control of the harmonica volume and tone is aided by the performer&#39;s ability to adjust the angle and proximity of the holder and sound baffle  1  relative to the vocal microphone. 
         [0020]    As shown in the holder  26  top view of  FIG. 2 , a potential material choice for the construction of the sound baffle  1  might be a clear plastic as this would help to minimize visual clutter in front of the performer. The harmonica is shown in line for insertion into the channels  9  of braces  8 . 
         [0021]      FIG. 3  illustrates a modified embodiment of the holder  26  showing the multi-functional design of the sound baffle when utilized with a small microphone  18  dedicated to the harmonica. By employing screws  5 , the sound baffle  1  can be flipped to hold the harmonica  14  beneath said sound baffle  1 . The harmonica in this position is now isolated from the vocal microphone  15  by the sound baffle and the harmonica sounds are picked-up by this secondary microphone  18 . This embodiment shows a commercially available cardioid condenser instrument microphone  18  strapped to the holder arm  2  with zip-ties  19 . The harmonica is shown fully mounted in the channels  9  of braces  8 . 
         [0022]      FIG. 4  shows a perspective view of the holder  26  according to one embodiment, shown from below the harmonica holder. The harmonica is shown in line for insertion into the channels  9  of braces  8 . 
         [0023]      FIG. 5  illustrates one embodiment of the holder  26  in use with an existing microphone and stand. The holder is shown attached to the lateral arm extension  17  of a music stand  20  with the performer shown standing in position in front of the microphone  15 . The harmonica  14  is held by the holder in proximity to the microphone allowing the performer to alternate between voice and harmonica playing with very little head movement. 
         [0024]      FIG. 6  illustrates an embodiment of the holder  26  adjusted for attachment to the vertical riser  20  of a simpler microphone and stand arrangement. 
         [0025]    In an embodiment of the holder  26  shown in  FIG. 7  it is demonstrated that the method and objectives of the holder can also be achieved with a simplified design utilizing shaped and formed sheet material fitted together with slots. With this embodiment the method for playing the harmonica remains the same, though the ability to make adjustments in the position of the harmonica relative to the microphone is reduced. The benefit of this simplified embodiment is that it allows for economical manufacturing. In creating the embodiment of  FIG. 7  two shapes are made from a rigid sheet material as illustrated in the dieline in  FIG. 8 . Shape  22  is bent in the middle along center line  27  such that it will conform around the music stand  17 , the protrusions of shape  22  thus forming the boom arms of the holder as shown in  FIG. 7 . When the holder is attached to the stand the boom arms extend out and away from the stand. Said boom arms are slotted at the ends  24  to accept the sound baffle  21  which is slotted  25  to accept the slots of the boom arms in return. When the two pieces  21  and  22  are fitted together a more rigid structure is formed and the sound baffle  21  also acts as a platform to which the harmonica is mounted. In this embodiment a hook-and-loop product such as Velcro would provide a suitable mounting system for the harmonica. The performer would affix adhesive backed velcro to both the sound baffle and to one or more harmonicas. The harmonicas could then be changed easily during a performance. While  FIG. 7 . illustrates a holder embodiment attached to the stand utilizing a C-clamp  23 , other embodiments may use other attachment mechanisms. 
         [0026]    Although the holder has been described in connection with example embodiments, it should be understood that various modifications, additions and alterations may be made to the holder by one skilled in the art without departing from the spirit and scope of the holder as defined in the claims. As a further example, the simplified embodiment of  FIG. 7  could be accomplished in whole or in part with other materials such as wire instead of rigid sheet material. 
         [0027]    It can he seen from this detailed description that the holder meets its objectives in the following ways; 
         [0028]    One imbodiment of the holder provides a compact and portable harmonica holder that can be attached to a variety of stands. A great advantage to this is that a performer does not have to transport a full stand and may easily utilize any common stand typically provided by a music venue, church, theater, nightclub, etc. . . . 
         [0029]    One imbodiment of the holder provides a multi-functional sound baffle that can be adapted to either hold the harmonica above or below said sound baffle. In this way the sound baffle acts to direct and isolate the sounds of a performers harmonica and voice as desired by the user. 
         [0030]    One imbodiment of the holder allows a performer to effectively utilize a single microphone for voice and harmonica ( FIG. 1 ), or alternatively utilize a small, secondary microphone dedicated to the harmonica ( FIG. 3 ). 
         [0031]    One imbodiment of the holder allows the harmonica to be held in a set position in proximity to the vocal microphone so that the performer can, with very little head movement, alternate quickly between singing and playing the harmonica ( FIG. 5 ). 
         [0032]    The holder allows for quick and efficient exchange of harmonicas. 
         [0033]    The holder succeeds at all of the above-listed objects in such a way that is simple in design and use.