Abstract:
An improved kazoo includes a cylindrical input pipe in communication with a downstream plenum for conveying air from the plenum and against a diaphragm traversing the air path. An end cap is secured to the downstream pipe with the diaphragm therebetween. Vents in the end cap expose one side of the diaphragm to the ambient air. An outlet pipe with nuance aperture therein presents an outlet aperture for conveying the back air pressure from the plenum to the ambient air. The kazoo is configured to be encompassed by the user&#39;s cupped hands which allows the user to present a mouthpiece in the form of a user&#39;s thumb and index finger encircling the input pipe. The size of the inlet, vent, nuance and outlet apertures is controlled by the user&#39;s palm and fingers. The controlled size of each aperture allows the user to modulate the aural characteristics of the kazoo sound produced by user air forced into the input pipe aperture.

Description:
BACKGROUND OF THE INVENTION 
     This invention pertains generally to the field of voice amplifier toys and, more particularly, to an improved kazoo having structure for providing improved sound qualities and control thereof. 
     The basic kazoo is known in the art. Generally, the kazoo sound arises from the user forcing air through a tube and across a membrane with the vibration of the membrane causing the kazoo sound or “kaz”. The air is produced by the user&#39;s vocal input, e.g., humming, singing, etc., into the input end of the kazoo. The elongated tube of the kazoo affects the tone quality but not the pitch. Typically, the membrane is a thin piece of cellophane, waxed paper or plastic film stretched across an aperture and held in place by a cardboard ring. The user-generated airwaves vibrate this membrane/diaphragm and produce the familiar kazoo sound. 
     The sound of a kazoo is a direct and unmodulated one, which tends to be aurally displeasing. As the configuration of prior kazoos is not conducive to control by the user&#39;s fingers and/or hands, the output is altered only by variations in pitch and volume of the user&#39;s vocal input resulting in a direct, unmodulated kazoo sound lacking any tonal nuances. 
     Thus, it is desirable to be able to improve the control/modulation of the kazoo sound and the player&#39;s access thereto. 
     In response thereto I have invented a kazoo with an input tube, downstream plenum, a downstream output tube with diaphragm presenting an end for receiving an adjustable apertured cap and a supplementary plenum outlet tube with outlet aperture. The overall structure of my kazoo enables the kazoo to fit into the cupped hands of a user which allows the user to regulate the size of the various apertures with the palms and/or fingers of the hands. Thus, my kazoo sound can be modulated by regulating and/or varying the amount of air back pressure within the instrument; by controlling the amount of air entering the instrument and by controlling the vibrations of the diaphragm responsive to the input air. 
     It is therefore a general object of this invention to provide an improved kazoo. 
     Another object of this invention is to provide a kazoo, as aforesaid, which enables the user to control/modulate the kazoo sound. 
     A further object of this invention is to provide a kazoo, as aforesaid, which enables the user to control the proportion of vocal sound entering the kazoo. 
     Another object of this invention is to provide a kazoo, as aforesaid, which enables the user to control the air pressure buildup in the kazoo. 
     A particular object of this invention is to provide a kazoo, as aforesaid, which enables the user to control the vibration of the kazoo diaphragm therein. 
     Another particular object of the invention is to provide a kazoo, as aforesaid, which enables the user to control the output air discharged from the kazoo. 
     A further particular object of this invention is to provide a kazoo, as aforesaid, which presents at least one aperture in the kazoo body which enables the user to further nuance the produced kazoo sound. 
     Still a further particular object of this invention is to provide a kazoo, as aforesaid, which is adapted to be controlled by the encompassed hands of the user. 
     Other objects and advantages of this invention will become apparent from the following description taken in connection with the accompanying drawings, wherein is set forth by way of illustration and example, a now preferred embodiment of this invention. 
    
    
     BRIEF DESCRIPTION OF THE DRAWINGS 
     FIG. 1 is a diagrammatic plan view showing various exploded elements of my first kazoo; 
     FIG. 2 is a perspective view of my first kazoo embodiment with the cap exploded therefrom; 
     FIG. 3 is a diagrammatic view, on an enlarged scale, showing the plenum end with the diaphragm/tube combination therein and the end cap secured thereto; 
     FIG. 4 is a perspective view of a second embodiment of my kazoo. 
    
    
     DESCRIPTION OF THE PREFERRED EMBODIMENT 
     FIGS. 1-3 diagrammatically shows the various elements of a now preferred embodiment of my kazoo. (The overall dimensions thereon are not limitations of my invention.) As shown, the kazoo comprises an input tube  10  having input aperture  12  through which the user forces air. The exterior surface  11  of the input tube  10  presents a surface for seating the user&#39;s thumb and forefinger therearound. 
     Downstream of the input tube  10  is a right angled plenum  20  having an increased internal cross-sectional area relative to the volume of the input tube  10 . This plenum  20  provides a chamber for creation of back pressure and on the facing surface of a downstream diaphragm  100 . 
     A first end  31  of a tube  30  is covered by a diaphragm  100  for penetration into the aperture  22  of plenum  20 . The inside diameter of the plenum  20  bore tapers from the downstream end  22  (FIG.  3 ). The upstream end  31  of tube  30  is beveled (20°) to present leading  33  and trailing  35  edges. Upon insertion of tube  30  into downstream aperture  22  of plenum  20 , the leading edge  33  of tube  30  bears against the diminishing inside diameter of the plenum  30  before the trailing edge  35 . Thus, diaphragm  100 , spanning the aperture in the upstream end  31  of the plenum  20 , will be pinched tighter against the wall  21  of the plenum  20  bore than at the trailing edge  35 . This relationship presents slack within the diaphragm  100  which aids vibration. Tube  30  is rotatably inserted within the plenum  20 . A nail (not shown), releasably inserted through diametrically opposed holes  36 ,  37  in the tube  30 , presents a handle for user manipulation and rotation. 
     The downstream end  37  of tube  30  extends beyond the downstream end  22  of plenum  20 . A cap  60  is secured about the downstream end  37  of tube  30 . The cap  60  includes one or more apertures  62 ,  64  in the end surface  66  of the cap and an additional aperture  63  in the side surface all vented to atmosphere. Upon positioning cap  60  on tube  30 , the apertures  62 ,  63 ,  64  are within reach by one or more fingers of the player. The end  66  of the secured cap, as displaced from the diaphragm  100 , presents a resonance chamber therebetween. 
     The apertures  62 ,  63 ,  64  (≈⅛″) controls the “kaz” sound within the resonance chamber. The greater the area of these apertures the less resonance. A smaller total area will reduce/muffle the kazoo sound. Aperture  63  is displaced from apertures  62  and  64  to decrease the likelihood that all these apertures  62 ,  63 ,  64  might inadvertently be closed simultaneously by a user&#39;s fingers. 
     A second outlet tube  80  communicates with input tube  12  and plenum  20  via portion  81  and a right angled portion  83  parallel to plenum  20 . The downstream end  86  of portion  83  is beveled to allow separate fingers of the player&#39;s right hand to comfortably cover both aperture  82  and the front surface of cap  60 . In the tube  80  portion  83  is a second outlet aperture  84  of relatively small size compared to aperture  82 . This aperture  84  provides for a continuous airflow through the tube portion  83  even if aperture  82  is completely closed. 
     The overall size of the kazoo is chosen so that it can be enveloped by the cupped hands of a user. In use, the thumb and forefingers of the cupped left hand of the user encircles the cylindrical seat  11  about the input pipe  10 . These fingers present a circular mouthpiece intermediate the player&#39;s lips and aperture  12 . As the user&#39;s lips are pressed against this finger-formed mouthpiece, the percentage of air entering the inlet aperture  12  is controlled according to the degree of pressure of the fingers about seat  11 . A lesser pressure presents a looser/slacker mouthpiece which allows more air to bypass the input aperture  12 . 
     A lighter pressure of the fingers about seat  11  decreases the percentage of user air directed into the input aperture  12 . This permits a player to produce a note requiring a higher vocal pressure (e.g., a high note) without introducing this higher pressure (and its resultant louder sound) into the kazoo. 
     The user&#39;s lips can assume a wide range of tone-relevant shapes (such as orotund for hollow tones, compressed for reedier ones) while transferring vocal output through the digitally formed mouthpiece and into the kazoo input pipe  10 . Variations in the position and/or pressure of the mouth against the mouthpiece can produce vibrato or tremolo effects. The cupped hands of the user about the kazoo present a surrounding resonance chamber, the volume of which can be varied so as to modulate the produced tone. A variance in the cupped hands, e.g., from spherical to flat, varies the volume of this chamber. Similarly, varying the hand pressure forming this chamber modulates the tone by altering the extent to which sounds entering this hand chamber escape to the outside air. 
     During play the size of the outlet aperture  82  can be varied by the palm or fingers of the user&#39;s right hand which regulates the volume of exhausted air. In turn the back pressure within the plenum  20  and the pressure against one side of the diaphragm  100  is regulated. The vibration of diaphragm  100  is thus controlled as well as the amount of air discharged from aperture  82  into the hand chamber. This structure further enables a user to modulate the kazoo sound. 
     Rotation of tube  30  within plenum  30  unevenly tensions the diaphragm  100  due to the leading  33  and trailing  35  edges as manifested by wrinkles in diaphragm  100 . The more wrinkled the diaphragm  100  the less uniform the diaphragm tension. A more wrinkled diaphragm  100  will vibrate under a lesser input pressure and present a noisier/fluttering sound as opposed to a smoother/uniformly tensioned diaphragm  100  requiring a relatively greater input pressure for vibration which produces a relatively purer tone. Thus, the tone quality of my improved kazoo can also be adjusted by rotation of tube  30  within plenum  20 . 
     Vocal input of the user determines the pitch of successive notes. Articulation of notes is the manner of transition from one note to the next. The transition may be a smooth one, i.e., legato, or separate, i.e., staccato. A change in the internal pressure of the kazoo produces an audible difference in the tonal quality of the kazoo sound. This quality change with the change of pitch can produce an audible separation between notes. Such a subtle but significant change can also be produced by tapping a nuance aperture  24  located in the upper surface of plenum  20  with the middle finger of the left hand. Nuance can also be provided by tapping the outlet aperture  82  with the palm of the right hand. 
     Furthermore, the cap apertures  62 ,  63 ,  64  allow the player to further modulate the tone. As the size of the various apertures can be controlled, a variable range of tonal qualities in the kazoo sound similar to the effect of a mute used in a trumpet can be produced. Articulation can also be provided by tapping these apertures. 
     FIG. 4 diagrammatically shows the various elements of a second alternative embodiment of my kazoo. (The overall dimensions thereon are not limitations of my invention.) Structure corresponding to the above embodiment has been designated with a corresponding primed number. As shown, the kazoo comprises an input tube  10 ′ having an input aperture  12 ′ through which the user forces air. The exterior surface  11 ′ of the input pipe  10 ′ presents a surface for seating the user&#39;s thumb and forefinger therearound. 
     Downstream of the input pipe  10 ′ is a plenum  20 ′ having an increased cross-sectional area relative to the volume of the input pipe  10 ′. This plenum  20 ′ provides a chamber for creation of back pressure therein and on the facing surface of the downstream diaphragm  100 ′. 
     A cap  60 ′ is threadably secured about the threaded end of tube  30 ′ with the intermediate diaphragm  100 ′ therebetween. The cap  60 ′ includes apertures  62 ′,  64 ′ in the end surface  66 ′ vented to atmosphere. The size of these apertures  62 ′,  64 ′ must not expose the diaphragm to excessive outside air pressure acting on the surface of diaphragm  100 ′ opposite the surface exposed to the plenum  20 ′ air. If so, the diaphragm  100 ′ will improperly vibrate and produce an undesirable sound. The end surface  60 ′ of the secured cap  60 ′ is displaced from the diaphragm  100 ′ which creates a resonance chamber between the stretched diaphragm  100 ′ and the cap end surface  66 ′. By tightening or loosening this cap  60 ′ the tension of the diaphragm, as stretched across the output aperture  32 ′ of the tube  30 ′, is adjusted as well as the size of this resonance chamber. Both of these factors will affect the produced sound. 
     A second reduced outlet tube  80 ′ with aperture  82 ′ extends from plenum  20 ′. This tube presents right-angled portions  81 ′,  83 ′ with an outlet aperture  82 ′ displaced from the cap end  66 ′. This configuration enables the entire kazoo instrument to be encompassed by the user&#39;s cupped hands. 
     As above, the overall size of the kazoo is chosen so that it can be enveloped by the cupped hands of a user. In use, the thumb and forefinger of the cupped left hand of the user encircles the cylindrical surface  11 ′ of the input pipe  10 ′ so as to present a mouthpiece. The tension of these digits encircling about surface  11 ′ can be varied to achieve results as above described. 
     Again, the cupped hands of the user present a surrounding hand chamber which can be varied and thus enhances the tone of the frequencies produced by my kazoo, particularly the lower frequencies as above described. The degree of intensity of the cupped hands varies the degree of volume of this hand chamber. Thus the amount of sound waves which enters this hand chamber and escapes to the outside air can be varied. Also, the above-described “blowby” (air bypassing the input aperture) entering this hand chamber will mix with the sounds therein to further modulate the produced sound. 
     During play the size of the outlet aperture  82 ′ can be varied by the palm of the user&#39;s right hand. Thus, the user can regulate the back pressure within the plenum  20 ′ which in turn controls the pressure against one side of diaphragm  100 ′. In turn, the vibration of diaphragm  100 ′ is controlled as well as the amount of air which is discharged from aperture  82 ′ into the hand chamber. This structure further enables the user to modulate the kaz sound. 
     The tension of the diaphragm  100 ′ can be adjusted by tightening or loosening the cap  60 ′ about aperture  32 ′. The diaphragm  100 ′ can be easily changed and/or replaced if ruptured, damaged, etc. A looser diaphragm  100 ′ will vibrate under less input pressure and produce a noisier or fluttering sound as opposed to a tighter diaphragm  100 ′. The tighter diaphragm  100 ′, requiring a relatively greater input pressure for vibration, produces a relatively purer tone. Thus, the tone quality on my improved kazoo can be modulated. Also, this end cap  60 ′/tube  30 ′ structure adjusts the volume of the resonance chamber which further modulates the sound, particularly at lower frequencies. 
     Articulation, as above described, can be changed with my alternative kazoo. A subtle change can be produced by tapping with the middle finger of the left hand a nuance aperture  24 ′ found at the juncture of the plenum  20 ′ and outlet tube  80 ′. Nuance can also be provided by tapping the outlet aperture  82 ′ with the palm of the right hand. 
     Furthermore, the cap apertures  62 ′,  64 ′ allow the player to further modulate the tone. The sizes of the apertures can be controlled by the user&#39;s fingers so as to vary the ambient air pressure and thus the variable resonance chamber pressure acting on the diaphragm  100 ′. A variable range of tonal qualities in the kazoo sound similar to the effect of a mute used on a trumpet can be produced. Articulation can also be provided by tapping these apertures. 
     Accordingly, my above-described kazoos allow a player a plurality of options for modulation/control of the kazoo sound. Basically, the improved sound of my kazoos result from the various structures as above-described used in all possible combinations. Such control and accompanying structure cannot be found in a conventional kazoo. 
     It is to be understood that while certain forms of this invention have been illustrated and described, it is not limited thereto, except in so far as such limitations are included in the following claims and allowable equivalents thereof.