The integrated sound beam is often seen in old qin, and compared with modern sound beams, it is generally smaller in length and arc height. In fact, an integrated sound beam is not beneficial for sound (especially bass). It is estimated that this type of sound beam was popular in France and Germany in the 18th and 19th centuries. At that time, the violin was suitable for small indoor concerts, which did not require high volume and penetration of the instrument.

Modern sound beams usually leave a small gap when sticking sound beams on the panel, which can generate certain stress between the panel and the sound beam, thereby enhancing the sensitivity of the piano and increasing the thickness and strength of the bass; There are no such gaps in the integrated sound beam, and almost no qin players do it now. Even if some modern qin players do not leave any gaps in the split type sound beam, they will greatly increase the width and height of the bass beam. Otherwise, the bass of the qin may not have depth and breadth, and when playing the qin, it will feel weak and the sound will be muffled, approaching the sound of a mid tone qin.