DE102006054252B4 - Adhesive picks with penetrating recesses - Google Patents

Abstract

Picks for plucked instruments, characterized in that one or more penetrating recess (s) on the edge area (s) of the penetrating recess (s) have small resilient claws (Fig. 5b, Fig. 8, Fig. 11 (8b)) ) and on the edge area (s) of the recess (s) there are cutting edges (1c), and comb and claw structures, and tooth-like elements that claw and cut into the finger grooves, one or more of the recess ( en) has a spiral shape (Fig. 6 (6)), (Fig. 7 (7)), the recess (s) is (are) designed as a double spiral (Fig. 6b (6c)), one or Several of the recess (s) has one or more resilient pegs (Fig. 9, Fig. 10) on the (s) edge area (s), and each of the resilient pegs has a rounded massive contact surface tip (10), which has a The clamping function causes the skin of the finger (s) to be clamped, whereby a frame-like necklace pendant frame (Fig.15, Fig.16 Fig.17 (23)) is used to hold and transport one or more picks is used.

Description

In many of the figures, the rounded playing surfaces of the plectrum edges were not rounded off. These roundings have been omitted for the sake of simplicity. Rounding is certainly necessary and also standard.

State of the art in brief:

1. 1. Different playing tiles made of various materials produce either a lot or a few overtones when the strings are struck. Thin and soft materials produce soft, mid-range and bass-heavy tones. The variety of overtones increases when hard material and thick material are used.
2. 2. The shape and size of the picks provide more or less grip and feel.
3. 3. Roughened and profiled surfaces (recessed grips) create relatively little additional grip.
4. 4. Picks with different thick material sides (tips) create a maximum of three game variations. They are, so to speak, three picks in one (soft, medium and hard).
5. 5. Many musicians lose their picks while playing and therefore need many replacement picks. Many musicians make do with double-sided tape to stick the picks between their fingertips. Many musicians deposit their spare plectrums in various places when performing. (See tripods, striking plates, pickguards, etc.)
6. 6. Musicians forget their favorite plectrums and have to use worse makeshifts and alternatives.

A plectrum is, so to speak, the gateway to the sound of a stringed instrument. The sound is shaped with the pick material (hardness) and the position and strength of the attack. The wrong pick and attack position, wrong velocity and attack style, in combination with the wrong pickup selection can ruin the sound of any good electric guitar.

This of course also applies to other instruments. Inexperienced musicians always manage to combine the unsuitable combinations with each other. A wrong choice of strings and wrong amplifier and cabinet combinations can ruin the sound result. Good musicians manage to make a bad instrument sound good. Bad musicians manage to make a perfect system (sound chain) sound very bad.

While an insecure musician concentrates on grabbing and plucking the right strings, a professional concentrates more on choosing the right and precise type of attack, pickup selection, pick material, etc. It is the fine nuances of sound that many inexperienced people do not even notice that characterize the professional.

A steel plectrum can still produce high overtones on old non-brilliant strings. With a soft plastic material or rubber this would not be possible with old strings. It is intended and desired to deliberately and specifically influence the sound with the pick, the type of attack and the position. Picks made of just one material and one hardness are not enough for the professional.

Both professionals and beginners need new picks that do more. A slippery pick that slides back and forth between the musician's fingers creates insecurity and mistakes. So you don't have to be surprised if after a concert plectrums lie around on the stage like snowflakes; lost by musicians .... cause slippery, easy-grip picks.

So that there is no mistake, the details shown in the figures of this publication are not finished pick designs, design patents that protect the respective 1: 1 design are required. Rather, as individually required, details are combined with one another in the design process from the figures, so that all desired and required functions can be found in the entire pick set. It is extremely difficult to do this with very few or even individual picks.

Hard "modern steel strings" wear soft fingernails extremely much faster than old soft gut or nylon strings do. That was originally the reason to invent picks at all, born out of necessity, so to speak. With the "new modern" steel strings at the time, new plucking possibilities were also required.

Well-known writings (citations)

• DE 19 83 375 U (from 1968)
• U.S. 4,779,778 A (from 1988)
• GB 219 184 A (from 1924)
• US 2006/0 196 340 A1 (from 2006)
• U.S. 5,648,622 A (from 1997)
• U.S. 3,319,505 A (from 1967)
• U.S. 4,993,302 A (from 1991)
• U.S. 3,699,838 A (from 1972)
• U.S. 5,587,542 A (from 1996)
• U.S. 4,993,301 A (from 1991)

Picks that use penetrating recesses are known from many documents (references). The 10 fonts each have advantages but also disadvantages. There is always something missing in the individual fonts shown that would improve the function or the game and, if necessary, expand it with effects. So each of the individual fonts is very obviously missing something that the other 9 would have to offer. It is a fact that no single pick can perform all tasks satisfactorily. The knowledge from all 10 or this 11th script creates a perfect dream pick, so to speak (the egg-laying woolly milk sow, so to speak).

Rather, a pick set is necessary, which can be reached and grabbed quickly if necessary, which also serves as a storage box, and which in total then fulfills all the necessary tasks. Three different hard (soft) game sides (see DE 19 83 375 U von 1968) can already do this in the beginning. Nowadays it is common and not new to use softer picks when playing rhythm guitar, hard picks for solo guitars, rubber or felt picks or soft fingers for bass guitar.

Most normal people will not find a reason why one should spend more than a few euros a year on picks, accessories and tools. A professional violinist, for example, invests five-figure euros for a reasonable bow, plus the annual maintenance of the bow or bows.

From the 10 scriptures it becomes clear why at least 11 people, including me, considered it necessary to make more effort. Modern laser processing offers various professional options for creating high-end individual designs. The countless modern materials available, plus modern laser and water jet production, make things more complicated than expected.

From the U.S. 4,779,778 A from 1988 plectrums are already known that have a penetrating recess to which a clip-like (clothespin-like) spring grip with a necklace can be attached with a snap-in, whereby the simple plectrum also becomes a simple jewelry pendant with a play function.

From the GB 219 184 A From 1924, picks consisting of two parts are known, which have a U-shaped wire grip bow A (component 1), attached to both ends, round, two-part and three-dimensional spiral spring B (component 2), with a v-shaped wire plectrum tip C formed in between are designed. In 1924 an attempt was made to use hard, abrasion-resistant metal wire to use the spiral spring function to create softness and elasticity, as we are used to with plastics today. At that time, in my opinion, there were no resilient plastics and certainly no laser cutting.

From the US 2006/0 196 340 A1 From 2006 picks with several penetrating recesses are also known, which also have raised grip knobs or deeper surfaces. A 2.5-dimensional design with a good grip is already generated.

From the U.S. 5,648,622 A from 1997, raised surfaces or depressions are provided in order to produce a better grip of the pick and to provide thick materials with thin areas. The material is weakened by thinner areas and thus elasticity and flexibility, while at the same time creating a grip, of the plectrums. However, predetermined breaking points are also implemented.

From the U.S. 3,319,505 A from 1967 picks are known that have various recesses that are arranged around a center, which is also designed as a larger center hole. The grip is improved. Also two relevant string stop tips ( 18a ) are already present on the pick.

From the U.S. 4,993,302 A from 1991 picks are known that consist of several layers. Some of these layer elements produce relative three-dimensional thickness, elasticity, softness to the touch and still a rough grip and fixation of the pick. The handling and control of the pick is thus sufficiently ensured.

From the U.S. 3,699,838 A from 1972 picks are known that have an arcuate larger clamping area that can be clamped on the finger. The clamping area can be bent up into the third dimension with a finger. The plectrum design itself makes the plectrum a finger clamp. The fixation of the plectrum is sufficiently ensured, but the quick change of the plectrum is prevented.

From the DE 19 83 375 U from 1968 symmetrical equilateral picks are known that have three different thicknesses (soft, medium and hard) string stop tips. Relief-like raised markings to feel the playing strength ( 1 , 2 , 3 soft, medium and hard) are available. An outdoor area is also provided, which is wavy ( 3 ) is designed to optimally generate scratchy sound effects on the wrapped strings. With the three string stop tips, one plectrum becomes, so to speak, three plectrums in one. Unfortunately the pick did not have a perfect design for today's ideas.

From the U.S. 5,587,542 A From 1996 picks are known which use relatively large star-like penetrating recesses in the center of the plectrum in order to prevent the plectrum from turning away unintentionally during games and to produce a better grip of the plectrum. The grip and fixation is ensured.

From the U.S. 4,993,301 A from 1991 plectrums are known that work on the outer playing surfaces with incisions or sawtooth-like cutting edges and grooves in order to produce quickly repeating strokes or rough sound effects, as in principle in the DE 19 83 375 U from 1968 was already partially hinted at.

technical description

Penetrating recesses and special shapes of these recesses in picks quickly remedy these disadvantages. Even thicker material made of hard material can be made soft and flexible, so to speak, through specific recesses. Plectrum wear is reduced because thick, hard materials do not wear out as quickly and as quickly. Create recesses and holes in the material as well as small springy tenon claws (teeth) by pressing the skin into these hole-slot geometries, fixing and, so to speak, Velcro fastening of the fingers to the pick material. So it is possible that the pick can be attached to just one finger with Velcro. A fixed chain moment can be precisely determined by the type of recess (s) and their arrangement. From A to G, for example, the degree of Velcro (adhesive strength) can be specified.

The introduction of gel or rubber elements in the Plectrum variants also creates a new, comfortable feel.

Usually a soft material, or even thin picks, produces a soft central string sound. With hard, thick picks that are still soft to the touch, there are new possibilities.

Picks made of three different materials produce three different sound nuances. The usual raised printed profiles, new hole-slot geometries, material thicknesses and different materials can be combined with one another. This creates countless variations of picks. Many variants are perfectly playable for every musician.

Market situation

Musicians usually play a well-rehearsed favorite plectrum. Such individual plastic pieces wear out relatively quickly and are too much to be used again. Logically, several picks should be used and played in. However, it takes time. This is often lacking and so the favorite plectrum is still used. Thus, musicians use and consume too few picks. The clumsy musicians who forget a lot and lose many parts boost production positively. The musicians who use a steel plectrum do not need a new plectrum for their entire life and it is almost impossible to become new customers. Unless real plectrum innovations give cause.

But even the hobbyists among the musicians can easily make the simple picks out of plastic plates. With so little use of technology, that's obvious. This option is not used very often because the parts in the store are far too cheap. In principle, anyone could start producing simple standard connectors.

Boost the market and sales

This is always possible with meaningful products designed for musicians. However, the benefits must be immediately apparent. The price for an innovation should also be kept within limits.

However, there are ways to sell many new, relatively expensive technology picks.

Class is more than quantity. The musician plays one plectrum at the moment and, if necessary, several plectrums in a row. An assortment of 10 pieces is sufficient in principle. However, many beautiful innovative variants are a means of increasing the demand extremely. Selling sets of picks is also a means. Strings are also not primarily sold individually. Different Plectrum variant systems that create many new possibilities are a fine way for the musician to optimize the precision touch.

A common pick has little to do with TECHNOLOGY. The materials have been known for a long time. Noble and technically complex parts are not very common. A pick doesn't have to be primitive and cheap. There remains room for innovation and expensive material. There is still room for new manufacturing options and creates new, not easily copied pick systems. A large assortment of variants and also the sale of assortments make it difficult to copy these parts.

However, a little advertising is always necessary to market innovations. This is usually done by the distributors if enough samples and advertising material are made available. Musicians do the best advertising for a product if they are really convinced and have a good additional income opportunity.

Water jet or laser beam technologies are well suited for manufacturing. But stamping technologies are also suitable for less complex geometries. Cast systems are also well suited, but too expensive for individual systems. Elaborately designed picks are not good and easy to copy. A gold, silver or platinum plectrum cannot be copied cheaply due to the choice of material.

A pick, which, due to its shape, choice of materials and design, becomes a piece of jewelry, so to speak, can also boost sales. It is not known how many millions of additional picks can be sold each year. The production of trend picks, so to speak, as fashion, is also little used. Thus there are good opportunities for designers to create many new parts. Distributors can also sell many innovations without any problems. Individual production for customers with taste are also not used extensively. At the moment, "less" common picks are still being sold that have little new to offer the customer apart from shape, color and imprint.

Novel picks that promise the musician to have to practice less, to sound and play better are an important innovation. It doesn't have to be a new guitar or amplifier, maybe a set of new picks to be better or to sound better.

Economic advantages for manufacturers and sales

Earnings can be made from the production or distribution of the innovations.

There is also something to be earned from selling necklaces. The necklaces or collars do not need to be made by yourself. There are plenty of such products. The trade earns from selling the parts. The pick products can be marketed as a mass product, but also as a luxury and individual product. Customized products are also relatively easy to deliver.

Individuals realized only for customers, is a means of generating customer loyalty and demonstrating appreciation for musicians' performance.

Advantages in marketing

The products are ideal gifts (price between 1 and 10 euros). The perfect gift for your loved one, or your loved one, is always an innovative plectrum.

For chains with plectrum pendants and plectrum assortment, prices between 15 and 30 are realistic. For luxury products and individual items, the prices are open at the top (see material selection).

In principle, the innovation can be used with all plucked instruments, e.g. guitar, bass, banjo, mandolin, etc. So the customer base is relatively large.

Well-designed products can also be sold as jewelry. This means that non-musicians can also become customers. That should be difficult with standard plectrums.

Marketing is easy. Distributors already sell similar standard products.

The materials for advertising, photos, etc. are easy to implement.

It is easy to show the benefits that are opened to the musician.

Benefits for the musician (technology innovation)

The ones already known (see exercises).

The pick that man (woman) does not forget because it hangs around the neck is always there.

You can immediately see the “musician” on the plectrum chain.

Tasks in brief:

1. 1. How do you create playing precision, grip and a new, comfortable feel with a new type of pick? See the following tasks and designs.
2. 2. How do you create a plectrum that no longer slips and does not slip away? See Adhesion, Clamping and Creating 3-Dimensionality and Spring Effects.
3. 3. How do you make a pick that sticks (sticks) between the fingers, so to speak, without actually sticking? 01 to 11 without 02 .
4. 4. How do you make a pick that turns quickly between your fingers without slipping? Aim to use different material tips quickly (see 02 ).
5. 5. How do you create a pick that can be precisely fixed in one direction and that no longer turns and slips away? 01 03 and 04 and 09 and 11
6. 6. How do you create a pick that makes all three sides of the pick playable, can be precisely fixed in all three directions, and that doesn't slip away? 05 , 08 and 10
7. 7. How do you make a pick that is soft to the touch, even though it is made of a very hard material. 06 and 07 . See with bent spirals that make the part 3-dimensional. Spring effect.
8. 8. How do you clamp a pick on your fingertips? 01 to 11 without 02 . See the skin and the fingerprint grooves press themselves into the plectrum slot and, so to speak, hook together.
9. 9. How do you create a soft touch even though the pick material is hard? 06 , 6b and 07 . See with spirals bent up on both sides ( 6b) which make the part 3-dimensional. Spring effect.
10. 10. How do you turn a pick into an object that cannot be forgotten? 15th , 16 and 17th . See use as a necklace and pendant as a bracket.
11. 11. How do you turn one or more playable picks into beautiful jewelry? 12 to 17th . Make decorative recesses that have a function.
12. 12. How do you expand the choice of materials for plectrums? See production type.
13. 13. How do you produce customer-specific picks with a minimum of personnel and machinery? See production type.
14. 14. How do you produce 100th Plectrum variants with little personnel, capital, material and machine expenditure? See production type.
15. 15. How do you make soft, grippy picks out of hard material. See small inserts made of gel or rubber in holes.

Figure list

• 1 shows a simple hole-slot geometry ( 1 ) in the area of the symmetry axis of the plectrum, which enables alignment and fixing in one direction. The skin presses into the slot. Thus, the system is fixed between the fingers in one direction. The one plectrum tip that lies in the direction of the slot can therefore be played when it is well fixed.
• 2 shows a simple round hole geometry ( 2 ) in the center of the pick, which allows the pick to be rotated easily and quickly between the fingers. Slipping between the fingers is also prevented.
• 3 shows a tapering slot geometry ( 3 ). This has the advantage that, regardless of the thickness of the skin, one area always grips into the slot of different widths. It is similar with the elliptical geometry ( 4th ) of the 4th . Thus, the system is fixed between the fingers in one direction by the elongated slot geometry. When it is well fixed, it is particularly possible to play the one point that lies in the direction of the slot.
• 5 shows a pick that doesn’t care about the direction of rotation. The star-shaped converging slot geometries ( 5 ) that meet in the center of the plectrum allow centering. Each tip of the pick is playable when it is well fixed. Wear on all three sides is made possible, and thus the lifespan of the pick is greatly extended. Certainly there are also more rays than 3 , so 6 and more can be used. (not shown). Also the combination of different slot, hole and star geometries of the 1 to 5 are realizable. (not shown).
• 5b shows with teeth ( 8b ) provided edge areas of the recess.
• 6th and 7th shows spiral geometries ( 6th and 7th ). These act like a soft feather. It is a soft, movable surface, so to speak, that offers support and is easy to grip. The skin can also be pressed into the gaps in a fixative manner. A round spiral ( 6th ) offers less stability against twisting the pick between the fingers. A triangular or polygonal spiral ( 7th ) offers more fixation stability against twisting. The spiral offers the possibility of the spiral in the 3 . Shape and bend dimension. This gives the pick volume and becomes three-dimensional in one direction, making it easier to grip. (not shown).
• 6b It is also possible to bring a further spiral-shaped recess into the spiral area. So we get two spirals in one, so to speak. The one spiral ( 6a) can go up the other spiral ( 6b ) bent downwards. This gives the pick real thickness and volume. This turns the pick into a spring. Although hard, relatively thick material is used, the pick becomes soft and creates a new feel.
• 8th shows a pick that doesn’t care about the direction of rotation. The star-shaped converging slot geometries ( 9 ) that meet in the center of the plectrum allow centering. Further, thin, fine recesses made on one side of the slots ( 8th ) produce tiny, springy tenon claws that can cling to the grooves on the fingertips. The small pegs are pushed away when the pick is held. When they spring back, these small cones pinch / claw in the skin and create good claws / clamps. The pick may stick to a finger. It is also possible to attach tenons on both sides or on all sides to the slot and hole geometry edges. This refers to all shown slot-hole geometries of all figures. (not shown). The more pointed the tenon claws at the tip, or the less material the contact surface has (cutting edges), the better the claw effect. Rounded, massive contact surface tips lose the claw effect and become more like clamps (see 9 and 10 ).
• 9 shows a pick in which the recesses ( 11 ) two resilient pins ( 10 ) be generated. These have more of a clamping function that clamps the skin. The recesses center the pick in a primary playing direction. How 10 shows, each side of the pick is well centered and playable when fixed.
• 11 shows two claw-slot systems attached along the symmetry axis. These primarily make the tip of the pick, well centered and fixed, playable.
• At 12 , 12b , 13 and 14th A pick is made from three layers. In recesses ( 13 , 15th ) is a molded part ( 16 ) can be used. This part looks after connecting the three elements ( 12 , 15th ) a little beyond the grip surface of the pick. The part ( 16 ) can be a precious stone or a gel or rubber element. Such gel or rubber elements can be inserted into all slot-hole geometries. This applies to all figures with slot-hole geometries. (not shown). However, the fixation and claw effect would be partially or completely eliminated and replaced by the non-slip raised system. The special gel or rubber part ( 16 ) has a circumferential slot on the edge. (Not shown). This means that the part can be safely inserted into the slot or hole geometry of the pick ( 1 to 11 ).
• 12b shows a middle carrier layer made of several different materials ( 14b ) was put together.
• At 13 the layers are only visible from the side.
• At 14th more of the middle layer of the plectrum becomes visible from the sides. This has more of a decorative function. With different material colors, the layers are visible as with plywood. Especially with steel (silver, platinum) and golden top layers ( 12 ) the pick becomes a piece of jewelry. Metals can also be used as plectrum. Precious metals are also suitable. This turns jewelry into a usable functional element. The gold or other precious metals produce a special advantageous sound should be mentioned here.
• 15th to 17th shows necklaces, collars and pendants into which the picks are inserted. 15th and 16 differ only in the attachment of the chain ( 19th ). At 16 the chain is in the eyelet ( 21st ) held. At 15th will the frame ( 23 ) used to hold the chain. The plectrums can be pushed through the slot (S1) into the frame-like trailer system with little pressure. Through the slot ( 22nd ) it ensures that the frame has a spring effect and holds the picks in place in a simple manner. The slot (S1) is therefore smaller than the dimensions of the plectrum. Picks wear out and become inaccurate over time. Tiny foam rubber or spring elements are inserted so that they do not rattle in the trailer. Normally, however, the spring action of the trailer frame should be sufficient. If there are several different picks this may be too unsafe. The rattling of the picks would be a nuisance and should be prevented.

The pendant can be decorated and we turn into jewelry with a function. To make the whole thing even more decorative, two decorative plates, which have the dimensions of the plectrum, are pushed into the pendant and clamped. The correct picks are inserted between these plates.
If there are two decorative plates, it is impossible to reach the picks from above or from the side. The plectrums can only be pushed out from one side by removing at least one decorative panel. In order to make the matter small, narrow and not too heavy, other more complex options cannot be used well. More effort would also be too expensive.

It is also possible to attach any plectrum with a small hole directly to a necklace or collar with a clip element. An eyelet cannot be attached to the plectrum as with any conventional pendant, after all the plectrum should be usable. An eyelet on the pick would be extremely annoying.

Claims (8)

Picks for plucked instruments, characterized in that one or more penetrating recess (s) on the edge area (s) of the penetrating recess (s) have small resilient claws ( 5b , 8th , 11 (8b)) and on the edge area (s) of the recess (s) there are cutting edges (1c), and comb and claw structures, and tooth-like elements, these claw and cut into the finger grooves, one or more the recess (s) has ( 6 (6) ), ( 7 (7) ), the recess (s) as a double spiral ( 6b (6c)), is (are), one or more of the recess (s) one or more resilient pins ( 9 , 10 ) has (s) on the edge region (s), and each of the resilient pegs has a rounded, massive contact surface tip (10) which has a clamping function that clamps the skin of the finger (s), with a frame-like Necklace pendant frame ( 15th , 16 17 (23) ) is used to hold and transport one or more plectrums. Picks for plucked instruments Claim 1 , characterized in that the frame-like trailer (23) has a slot recess ( 15th , 16 17 (S1) ) for inserting the plectrum (s), and a cavity for storing the plectrum (plectrum), and a clamping torque is provided as a spring and clamp for clamping and holding the plectrum (plectrum), wherein the trailer (23) has a frame-like, the (the) pick (plectrum) framing, enclosing shape and a lateral accessibility through openings to the (plectrum) allows and the frame a division ( 17 (22) ), and when the plectrum or plectrums are inserted, it bends apart elastically and resiliently, with tiny foam rubber elements or spring elements in the cavity preventing the plectrums, which may be worn and incorrectly shaped, from rattling and moving. Picks for plucked instruments Claim 1 , characterized in that the spiral shape ( 6 (6) ), ( 7 (7) ), or double spiral ( 6b (6c)), located in the 3rd dimension, one or more resilient pins ( 9 , 10 ) is located in the 3rd dimension, so that the comb and claw structures and tooth-like elements are located in the 3rd dimension, in order to give the plectrum or plectrums more thickness, volume and grip and the penetrating recesses are in the gripping surface of the pick. Picks for plucked instruments Claim 1 , characterized in that precious stones (16) and soft gel or rubber elements (16) and decorative elements (16) are inserted into the penetrating recesses (13, 15) before the layers (12, 14) are connected, the outer cover layers ( 12) hold these elements (16) in place, and the layers (12, 14) decoratively consist of differently colored material, the elements (16) protruding beyond the grip surfaces of the plectrum (s). Picks for plucked instruments Claim 4 , characterized in that the elements ( 12 , 12b , 13 , 14 (16) ) are designed as a molded part, have a circumferential slot or circumferential notches on the edge, and are securely inserted into the penetrating recesses (13, 15), this circumferential slot or the circumferential notches hook with the edge area of the penetrating recesses (13, 15) and the elements are slightly wider than the thickness of the pick. Picks for plucked instruments Claim 2 , characterized in that one or two jewelry Dekoplectren, for decorating and closing the side openings of the trailer ( 15th , 16 , 17 (23) ), and then nothing of the plectrums can be seen from the outside. Picks for plucked instruments Claim 4 , characterized in that three plectrum tips ( 12b , (14b)) consist of differently hard, differently soft, differently thick and from differently thin material, with multi-part elements being joined together precisely and without gaps between the cover layers (12) as a carrier layer (14). Picks for plucked instruments Claim 1 , characterized in that lettering, ornaments or decorative elements are inserted as penetrating recesses (13, 16), the lettering, ornaments and decorative elements also being combined with spirals or other hole-slot recesses.

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