EP4706034A1 - A component for a musical instrument, and related systems and methods - Google Patents

Abstract

A musical instrument that includes a body, a soundboard, a bridge, and an anchor. The soundboard is coupled to the side of the body such that the soundboard extends over the cavity, and is configured such that when a string vibrates, the soundboard vibrates to amplify the sound generated by the string. The bridge is coupled to the soundboard such that when the string vibrates, the bridge transmits energy of the string's vibration to the soundboard to vibrate the soundboard. The bridge is coupled to the string such that the string terminates at the bridge. The anchor couples the bridge with the side of the body and diverts force carried in the bridge, away from the soundboard and to the side of the body. The anchor includes a cleat that is coupled with the side of the body, and a tie that couples the cleat with the bridge.

Description

A COMPONENT FOR A MUSICAL INSTRUMENT, AND RELATED SYSTEMS AND METHODS

BACKGROUND

[1] Stringed instruments have been around since ancient times. Conventionally, one or more strings are stretched over a soundboard and plucked, picked, strummed, bowed and/or otherwise vibrated. A bridge that couples the one or more strings with the soundboard transfers the vibration of the one or more strings to the soundboard so that the soundboard can amplify and temper the sound generated by the vibrating string.

[2] An essential musical/sonic task of the bridge is to provide precise coupling between the one or more strings and the soundboard so that most of the energy in the vibration of the one or more strings vibrates the soundboard. Another essential musical task of the bridge is to provide a point of precise tuning, or intonation, for the one or more strings. On most stringed instruments, the bridge also performs a third task — providing a terminal anchor for the one or more strings. Because of this third task, the coupling of the bridge with the soundboard must be capable of resisting the tension in the strings, which for example in a steel guitar is often in excess of 150 pounds. This tension in the one or more strings is borne by the bridge, and thus soundboard too, as a variety of different combinations of compression, shear and torque. The specific combination depends upon the specific geometry of the bridge, soundboard and their coupling. In most cases, however, these combinations of forces adversely affect the soundboard’s ability to amplify and temper the sound generated by the one or more strings, and thus adversely affects the soundboard’s ability to provide an optimal musical sound, in terms of volume, tone, overtones, and other subtleties appreciated in stringed instruments. To make the soundboard strong enough to resist all the tension, compression, and torque imposed by the one or more strings, the soundboard has to sacrifice sensitivity to the vibrations of the one or more strings that the bridge transfers to it. [3] In addition to resisting the tension in the one or more strings while the one or more strings are plucked, picked, strummed, bowed and/or otherwise vibrated, the soundboard must also resist the tension in the one or more strings while the one or more strings are not vibrated to generate a sound, such as when the instrument is stored. During these storage periods, which can be long and which can be numerous over time, the soundboard fatigues. This fatigue can result in the soundboard warping, cracking, and/or otherwise deforming, which adversely affects the sound of the instrument and requires repair just to obtain a portion of the soundboard’s original sound.

[4] Currently, there are two primary bridge systems incorporated in stringed instruments — an anchor-point bridge system, and a downward-force bridge system. These two systems are distinguished by the location where the one or more strings terminate. Anchor-point bridges provide a terminal anchor point for the one or more strings on top of the soundboard by means of the bridge. The bridge location is generally close to the center of the soundboard, where the soundboard is weakest, and most vulnerable to distortion or damage, as described above. In addition, the bridge, and thus the soundboard, experiences a large amount of torque from the tension in the oner or more strings trying to rip the bridge away from the soundboard. Examples of instruments that include an anchor-point bridge are an acoustic guitar, a harp guitar, a bass guitar, and a ukulele. Downward-force bridges are pinched or squeezed against the soundboard by the tension in the one or more strings as the one or more strings extend over the bridge and to the edge of the soundboard where they terminate and are anchored. In this system, compression is borne by the bridge and converted to torque or bending in the soundboard. Examples of instruments that include a downward-force bridge are an arch-top guitar, a banjo, a violin, a cello, and a double bass.

[5] There are significant limitations to both of these conventional technologies. Both anchor-point bridges and downward-force bridges restrict soundboard vibration. A main reason for this is that the tension in the one or more strings when they are not vibrating to make a sound is borne by the soundboard. The tension in the strings that terminate on the bridge (an anchor-point bridge) tends to pull, and push on different regions of the soundboard as the soundboard carries the tension, shear, and torque born by the bridge. The tension in the strings that terminate at the edge of the soundboard (a downforce-bridge) tends to push on the region of the soundboard that the bridge contacts. This forces other regions of the soundboard to carry tension, shear and torque. These forces carried by the soundboard interfere with the soundboard’s ability to freely vibrate in response to the vibration of the one or more strings.

[6] Another problem is that changes in temperature and humidity directly affect the vibration of the string when it’s vibrated to make a sound. Because the tension in the one or more strings is carried by the soundboard, any change or deformation in the soundboard directly affects the tension in the string, and the tension in the string adversely affects how the soundboard reacts to changes in temperature and humidity. In some cases, such changes in temperature and humidity can adversely affect the structural integrity of the instrument, even shortening the functional life of the instrument.

[7] The response of stringed instrument designers and builders, seeking methods to preserve the structural integrity of the soundboard, has generally been to design and build stronger structural soundboards. This response, unfortunately, has had the undesired result of further confining, and thus reducing, the ability of the soundboard to freely vibrate. One such method includes making the soundboard thicker. Another method includes adding more, and/or larger braces (structural members) to the underside of the soundboard. Both methods, however, add mass to the soundboard. This added mass interferes with the soundboard’s ability to freely vibrate in response to the vibration of one or more of the strings. In addition, both increase the weight, expense, and environmental costs to the soundboard.

[8] Thus, there is a need for a device that allows the bridge to transfer vibrations of one or more strings to a soundboard while diverting some if not all of the tension in the one or more strings while the strings are waiting to be plucked, picked, strummed, bowed and/or otherwise vibrated to generate a sound. SUMMARY

[9] In one aspect of the invention, a musical instrument that generates sound from a vibrating string includes a body, a soundboard, a bridge, and an anchor. The body is configured to hold a string in tension while the string vibrates to generate a sound, and has a back and a side that define a cavity. The soundboard is coupled to the side of the body such that the soundboard extends over the cavity, and is sized and configured such that when the string vibrates, the soundboard, in response, vibrates to amplify the sound generated by the vibrating string. The bridge is coupled to the soundboard such that when the string vibrates, the bridge transmits energy of the string’s vibration to the soundboard to vibrate the soundboard. The bridge is also coupled to the string such that the string terminates at the bridge. The anchor couples the bridge with the side of the body and diverts force carried in the bridge, away from the soundboard and to the side of the body. The anchor includes a cleat that is coupled with the side of the body, and a tie that couples the cleat with the bridge.

[10] With the anchor diverting force carried by the bridge away from the soundboard, the soundboard, in response to vibrations in the string, is allowed to vibrate unhindered. This provides the soundboard more sensitivity to the string’s vibrations, and allows the soundboard to more effectively amplify and temper the sound generated by the vibrating string. This, in turn, allows the soundboard to provide a sonic response that is richer in texture because overtones and note articulation are not lost and thus effectively enhanced.

[11] In another aspect of the invention, a method for generating a sound from a vibrating string, includes the following: a) generating tension in a string that is held over a soundboard of a musical instrument by a bridge that is coupled with the soundboard; b) with an anchor coupled with a side of a body of the musical instrument, anchoring the bridge to the side of the body, the body having a cavity defined by the side and a back of the body, wherein the soundboard extends over the cavity; c) the anchor diverting force carried by the bridge away from the soundboard and to the side of the body of the musical instrument; d) vibrating the string to generate a sound; e) the bridge transmitting the vibrations of the string to the soundboard; and f) the soundboard vibrating in response to the vibrations transmitted by the bridge.

BRIEF DESCRIPTION OF THE DRAWINGS

[12] FIG. 1 shows a perspective view of a musical instrument, according to an embodiment of the invention.

[13] FIG. 2 shows a plan view of a portion of the musical instrument shown in FIG. 1, according to an embodiment of the invention.

[14] FIG. 3 shows an exploded, perspective view of the anchor shown in FIG. 1, according to an embodiment of the invention.

[15] FIG. 4 shows a perspective of another anchor, according to another embodiment of the invention.

[16] FIG. 5 shows a perspective view of another musical instrument that includes an anchor, according to another embodiment of the invention.

[17] Each of FIGS. 6A - 6C shows a view of the anchor shown in FIG. 5, according to an embodiment of the invention.

[18] FIG. 7 shows a perspective view of yet another musical instrument that includes an anchor, according to yet another embodiment of the invention.

[19] FIG. 8 shows a side view of a portion of the musical instrument shown in FIG. 7, according to an embodiment of the invention.

[20] FIG. 9 shows a perspective view of yet another musical instrument that includes an anchor, according to yet another embodiment of the invention.

[21] FIG. 10 shows a cross-sectional view of a portion of the musical instrument shown in FIG. 10, according to an embodiment of the invention. [22] Each of FIGS. 11 A and 12B show a view of a component of the anchor shown in FIGS. 9 and 10, according to yet another embodiment of the invention.

[23] FIG. 12 shows a perspective view of a component of the anchor shown in FIGS. 9 and 10, according to another embodiment of the invention.

DETAILED DESCRIPTION

[24] FIG. 1 shows a perspective view of a musical instrument 20, according to an embodiment of the invention. The musical instrument 20 shown in FIG. 1 is an acoustic guitar, but could be any other desired instrument that generates sound from a vibrating string, such as a harp guitar, a banjo, or a violin. The musical instrument 20 includes a string 22 (here six) under tension, a bridge 24, a soundboard 26, and an anchor 28.

The bridge 24 transmits to the soundboard 26 the energy in the one or more strings 22 while the strings 22 vibrate under tension after being plucked, picked, strummed, bowed and/or otherwise vibrated. The soundboard 26 receives the energy transmitted by the bridge 24 and, in response, vibrates to amplify and temper the sound generated by the vibrations in the string 22. The anchor 28 couples the bridge 24 with the soundboard 26 such that the tension in the one or more strings 22, when the strings 22 are ready to be vibrated to generate a sound, but are not yet plucked, picked, strummed, bowed and/or otherwise vibrated, is diverted away from the soundboard 26. In addition, the coupling of the bridge 24 with the soundboard 26 that the anchor 28 provides, allows the bridge 24 to transmit to the soundboard 26 the energy in the one or more strings 22 when the strings 22 are plucked, picked, strummed, bowed and/or otherwise vibrated.

[25] With the anchor 28 diverting force carried by the bridge away from the soundboard 26, the soundboard 26, in response to vibrations in the string 22, is allowed to vibrate unhindered. This increases the sensitivity of the soundboard 26 to the string’s vibrations, and allows the soundboard 26 to more effectively amplify and temper the sound generated by strings 22. This, in turn, allows the soundboard 26 to provide a sonic response that is richer in texture than a soundboard that also carries the tension in the strings 22 when the strings 22 are not vibrated because overtones and note articulation are not lost and thus effectively enhanced.

[26] Still referring to FIG. 1 , the musical instrument 20 also includes a body 30. The body 30 has a back 32 and a side 34, that together define a cavity that the soundboard 26 covers. The soundboard 26 includes a soundhole 35 from which the sound that the soundboard 26 amplifies and tempers, emerges to be heard. The strings 22 terminate at the bridge 24, which means that the strings 22 transfer all of their tension to the bridge 24. And the anchor 28 includes a cleat 36 that is coupled with the side 34 of the body 30, and a tie 38 (here two) that couples the bridge 24 with the cleat 36. The tie 38 (discussed in greater detail in conjunction with FIGS. 2 - 4, 6A - 60, and 8, 9 and 11) is sized and configured to carry force away from the bridge 24 and toward the cleat 36. And the cleat 36 (discussed in greater detail in conjunction with FIGS. 2 - 4, 6A - 6C, and 8 - 12) is sized and configured to distribute the force that it receives from the tie 38 to the side 34 and/or back 32 of the body 30. In this manner, the anchor 28 diverts force carried by the bridge 24 away from the soundboard 26.

[27] The amount of force that the anchor 28 diverts away from the soundboard 26 may be any desired amount. For example, in this and other embodiments, the anchor 28 diverts all of the tension in each of the six strings 22 when the musical instrument 20 is in tune but not being played — i.e., when none of the strings 22 are being vibrated to generate a sound. This tension is the sum of the tension in each of the six strings 22. The tension in each of the strings depends on the material of the string 22 and the tuning of the string 22. For example, a steel string like that used with a steel guitar will have more tension when tuned, than a nylon string used with a classical guitar. In this and other embodiments, each of the ties 38 carries about half of this total tension, as tension. In this manner, the tension in the strings 22 does not reach the soundboard 26 and thus allows the soundboard to vibrate unhindered in response to vibrations in the strings 22. To efficiently transmit these vibrations from the strings 22 to the soundboard 26, each of the ties 38 couples the bridge 24 with the soundboard 26 (discussed in greater detail in conjunction with FIG. 3). Here, each of the ties 38 clamps or pins the bridge 24 to the soundboard 26. In other embodiments, the bridge 24 may also be glued or otherwise fixed to the soundboard 26. Also in other embodiments, the anchor 28 may divert less than all of the tension in the strings 22 when the instrument 20 is in tune but not being played.

[28] Each of FIGS. 2 and 3 shows a view of the anchor 28, according to an embodiment of the invention. FIG. 2 shows a plan view of the anchor 28; and FIG. 3 shows an exploded, perspective view of the anchor 28.

[29] The anchor 28 may be configured as desired to divert tension in the one or more strings 22 away from the soundboard 26. For example, in this and other embodiments the cleat 36 is fastened to the side 34 of the musical instrument’s body 30 via two screws 40 that threadingly engage the side 34; and the ties 38 are coupled with the bridge 24 and the soundboard 26 between the saddle 41 and where the strings 22 are secured to the bridge 24. More specifically, each of the ties 38 is a cable and is coupled with the cleat 36 via two sets of a bolt 42 and a receiver 44, and coupled with the soundboard 26 via two sets of a washer 46 and sleeve 48. Each of the receivers 44 holds an end 50 of a respective tie 38, and includes a threaded end 52. Each of the bolts 42 includes a threaded body 54 that threadingly engages a respective one of the receiver’s threaded ends 52. To secure the tie 38 to the cleat 36, each of the bolts are inserted through a respective one of two holes 56 in the cleat 36 until the head of the bolt contacts the cleat 36. The bolt’s threaded body 54 then threadingly engages the receiver’s threaded end 52. In this manner, the tension in each of the ties 38 may be modified as desired by rotating the bolt 42 relative to the receiver 44 to position the bolt’s threaded body 54 at any desired depth into the receiver’s threaded end 52. Each washer 46 holds an end 58 of a respective tie 38 by preventing the end 58 from passing through a hole 60. To protect the tie 38 and bridge 24 from damaging each other when tension is applied to the tie 38, the tie 38 extends through the sleeve 48, which lies in and extends through a hole (not shown) in the bridge 24. As the tie 38 exits the sleeve 48, the tie 38 directly proceeds toward the cleat 36 and contacts the bridge 24 as it extends across the bridge 24. Thus, when tension is applied to the ties 38, the ties 38 clamp or urge the bridge 24 and soundboard 26 against each other, as well as urging the bridge 24 toward the cleat 36. In this configuration, any tension and torque experienced by the bridge 24 that is caused by the strings 22 pulling on the bridge 24, is diverted away from the soundboard 26 and toward the side 34 of the instrument’s body 30. Moreover, because the sleeve 48 is located in the bridge 24 such that the location where the strings 22 are secured to the bridge 24 is closer to the cleat 36 than the sleeve 48 is, the portion of the bridge 24 between these two locations carries the tension in the strings 22 as compression.

[30] Other embodiments are possible. For example, one tie 38 or more than two ties 38 may carry the tension in the strings 22 away from the bridge 24 and thus divert the tension away from the soundboard 26. In addition, the ties 38 may not couple the bridge 24 with the soundboard 26, but rather one or more independent pins may couple the bridge 24 with the soundboard 26. For another example, the ties 38 may be rods capable of carrying compression. This may be desirable when the strings 22 are fastened to the ends of the ties 38 directly, not via the bridge 24, after the strings contact the saddle 41 and are looped back toward the soundhole 35 where the ties 38 maybe coupled with the bridge 24.

[31] FIG. 4 shows a perspective of another anchor 60, according to another embodiment of the invention. The anchor 60 includes a cleat 62 and ties 64; and is similar to the anchor 28 except that the ends of the ties 64 that couple the bridge 24 (FIGS. 1 - 3) with the soundboard 26 (FIGS. 1 - 3) are joined together. More specifically, the ties 64 are actually a single tie 64 with each of its ends 66 coupled with a respective one of the two receivers 68. Thus, in this embodiment each of the ties 68 always diverts about half of the total tension in the strings 22 (FIGS. 1 and 2). As one of the ties 68 is stretched to increase its tension, the other tie 68 also stretches to attempt to equalize the tension in both of the ties 68.

[32] Each of FIGS. 5 - 60 shows a perspective view another musical instrument 70, according to another embodiment of the invention. FIG. 5 shows a perspective view of the whole instrument 70 that includes an anchor 72 and a bridge 74. Each of FIGS. 6A - 6C shows the anchor 72 and the bridge 74 in a partial view of the instrument 70. The musical instrument 70 is similar to the musical instrument 20 except that the coupling of the anchor 72 with the bridge 74 is different than the coupling of the anchor 28 with the bridge 24. With this different coupling configuration, the anchor 72 may divert a greater amount of torque that the tension in the strings 76 generate in the bridge 74, and may also divert any force generated in the direction indicated by the arrow labeled 78 that is generated in the bridge 74. Such a force may be generated when the strings 22, or a portion of the strings 22, diverge away from the soundboard 80 as they extend toward the neck 82. For example, as shown in FIGS. 5 - 60, the portion of the strings 22 between the saddle 84 and the location 85 on the bridge 74 where the strings terminate diverge away from the soundboard 80 as the strings 22 extend toward the neck 82. For another example, the portion of the strings 22 that extend from the saddle 84 toward the neck 82 may also diverge away from the soundboard 80 as they extend toward the neck 82. In either example, the force carried by the bridge 74 when the strings 76 are in tension has a component in the direction of the arrow 78 (perpendicular to the soundboard 80), and another component in the direction indicated by the arrow 79 (parallel to the soundboard 80).

[33] The anchor 72 is similar to the anchor 28. More specifically, the anchor 72 includes a cleat 86 and ties 88 that are similar to the cleat 36 and ties 38 of the anchor 28. The bridge 74 may be configured as desired to elevate the location on the bridge 74 where the ties 88 contact the bridge 74, and the coupling of the anchor 72 with the bridge 74 is similar to the coupling of the anchor 60 (FIG. 4) with the bridge 24 (FIGS. 1 - 3) except that the ties 88 are coupled only to the bridge 74, not the bridge 74 and the soundboard 80. More specifically, the bridge 74 includes a ridge 90 that extends away from a base 92. The ridge 90 elevates the point where each of the ties 88 first contact the bridge 74, above the point on the saddle 84 where each of the strings 76 first contact the bridge 74, and, more importantly, above the point where the ties 88 are coupled with the cleat 86. By doing this, the ridge 90 directs a portion of the pull on the bridge 74 that tension in the ties 88 exerts on the bridge 74, in a direction opposite that of the direction shown by the arrow 78, to counter the force carried by the bridge 74 in the direction of the arrow 78. Elevating the point where each of the ties 88 first contact the bridge 74, also provides leverage for the pull on the bridge 74 that tension in the ties 88 exerts to counter the torque carried by the bridge 74 from the tension in the strings 76. To further aid the ties 88 directing torque carried by the bridge 74 away from the sound board 80, the end of each of the ties 88 wraps around the ridge 90 and terminates under the ridge 90 and above the locations 85 in the bridge’s base 92 where the strings 76 are releasably held in the bridge and terminate.

[34] In this and other embodiments, the bridge 74 may be coupled with the soundboard 80 using any desired conventional techniques. In addition, the ridge 90 may be configured as desired to provide the function discussed above. The further the ridge 90 extends away from the base 92; the greater the portion of the pull in the ties 88 that is directed in the direction opposite the arrow 78, the less the portion of the pull in the ties 88 that is directed in a direction opposite the arrow 79, and the greater the leverage that is provided the pull in the ties 88 to counter the torque carried by the bridge 74.

[35] Other embodiments are possible. For example, the extension of the ridge 90 away from the base 92 may be adjustable to accommodate different playing conditions and different positions of the saddle 84. For another example, one or more of the ties may be releasably coupled with the bridge 74 in other locations on the ridge 90 or other locations on the base 92.

[36] Each of FIGS. 7 and 8 shows a view of yet another musical instrument 100, according to yet another embodiment of the invention. FIG. 7 shows a perspective view of the musical instrument 100 with a bridge 102 and anchor 104. And FIG. 8 shows a side view of a portion of the musical instrument 100, bridge 102, and anchor 104. The musical instrument 100 is similar to the musical instruments 20 (FIG. 1) and 70 (FIG. 5) except that the coupling of the anchor 104 with the bridge 102 is different than the coupling of the anchor 28 with the bridge 24, or the coupling of the anchor 70 with the bridge 74. The coupling of the anchor 104 with the bridge 102 combines aspects of each of the couplings in a respective one of the musical instruments 20 and 70. More specifically, like the coupling of the ties 38 with the bridge 24 in FIGS. 1 — 4, the location on the bridge 102 of the musical instrument 100 where the ties 106 are releasably secured to the bridge 102 is closer to the neck 108 than the location on the bridge 102 where each of the strings 110 terminate. And, like the coupling of the ties 72 with the bridge 74 in FIGS. 5 - 6C, the location on the bridge 102 of the musical instrument 100 where the ties 106 contact the bridge 102 is above the point where the ties 102 are coupled with the cleat 112. In this manner the coupling of the anchor 104 with the bridge 102 obtains the benefits from each of the other couplings.

[37] More specifically, in this and other embodiments, the bridge 102 includes a first saddle 114, and a second saddle 116. Each of the saddles 114 and 116 are mounted to the base 118 of the bridge 102 using conventional techniques. The first saddle 114 provides the point of contact for each of the strings 110 and helps establish the length of each string that controls in part the intonation of each of the strings 110 when each are vibrated. The second saddle 116 provides the point of contact for each of the ties 106, and allows one to establish a direction of pull in the ties 106 that has a component directed toward the soundboard 120 that is perpendicular. In other embodiments, the height of the second saddle 116 above the bridge’s base 118 may be adjustable so that one can modify the direction of pull in the ties as desired.

[38] Each of FIGS. 9 - 11 B shows a view of yet another musical instrument 130, according to yet another embodiment of the invention. FIG. 9 shows a perspective view of a portion of the musical instrument 130 with an anchor 132 shown as an exploded view. FIG. 10 shows a cross-sectional view of a portion of the musical instrument 130 and a portion of the anchor 132 coupled with the side 134 of the instrument 130. And each of FIGS. 11 A and 11 B shows a view of a component of the anchor 132. The musical instrument 130 is similar to the musical instruments 20 (FIG. 1), 70 (FIG. 5), and 100 (FIG. 7) except that the coupling of the anchor 132 with the musical instrument’s side 134 is different than the coupling of the anchors 28 (FIG. 1), 72 (FIG. 5), and 104 (FIG. 7) with their respective sides of their respective musical instruments. Here, the anchor 132 is coupled with interior bracing 136 inside the cavity 138 of the musical instrument 130, and located adjacent the instrument’s side 134 inside the cavity 138. In this location, the anchor 132 is protected from possible damage that could result from being bumped and/or snagged if the anchor were exposed outside of the cavity 138. Another benefit of being located inside the cavity 138 is that the musical instrument 130 has a cleaner look. [39] In this and other embodiments, the anchor 132 includes a tie 140, and a cleat 1 2. The tie 140 (similar to the tie 64 shown in and discussed in conjunction with FIG. 4) is a single cable whose two ends 142 and 144 are coupled to the bridge 146 as discussed in the previous FIGS. 1 - 8. The cleat 142 includes a foot 148, a first grommet 150, a second grommet 152, and a bolt 154. When the cleat 142 is coupled with the interior bracing 136, the first grommet 150 is seated in the edge of the soundboard 156, the second grommet 152 is seated in the edge of the musical instrument’s back 158 such that the two grommets 150 and 152 are aligned with each other, and the foot 148 is disposed between them inside the cavity 138. The foot 148 includes a hook 156, and an end 158 that has internal threads that match the threads of the bolt 154. To adjustably hold the foot 148 between the two grommets 150 and 152, the bolt 154 extends through the second grommet 152 and threadingly engages the foot’s end 158. To couple the tie 140 to the cleat 142, the tie 140 is folded onto itself in the middle 160 of the tie 140 and then inserted through the first grommet 150 until the middle 160 reaches the hook 156. The middle 160 is then looped onto the hook 156 so that the hook 156 prevents the middle 160 from being withdrawn back out of the first grommet 150 when tension is applied to the tie 140. To adjust the amount of tension generated in the tie 140, one rotates the bolt 154. For example, when the bolt is rotated clockwise, the bolt’s threads engage the foot’s threads and pull the foot 148 toward the second grommet 152. This increases the tension in the tie 140, and thus generates more pull on the bridge 146. When the bolt 154 is rotated counterclockwise, the bolt’s threads engage the foot’s threads and push the foot 148 away from the second grommet 152. This decreases the tension in the tie 140, and thus generates less pull on the bridge 146.

[40] Other embodiments are possible. For example, the bolt 154 may not extend through the second grommet 152, but rather the first grommet 150. In such embodiments, the bolt could have a longitudinal hole through which the tie 140 extends to reach the foot’s hook 156, and when the bolt is rotated to adjust the tension in the tie 140, the bolt may relative to first grommet 150 toward or away from the foot 148. In such embodiments, rotating the bolt can also adjust the direction of the tie’s pull on the bridge 146 to account for more or less lift in the bridge 146. For another example, the cleat 142 may be configured as shown in FIG. 12, in which the first and second grommets 150 and 152 are replaced by a carrier 170 that may be mounted inside or outside the cavity 138.

[41] The preceding discussion is presented to enable a person skilled in the art to make and use the invention. Various modifications to the embodiments will be readily apparent to those skilled in the art, and the generic principles herein may be applied to other embodiments and applications without departing from the spirit and scope of the present invention. Thus, the present invention is not intended to be limited to the embodiments shown, but is to be accorded the widest scope consistent with the principles and features disclosed herein.

Claims

What is claimed is:

1 . A musical instrument that generates sound from a vibrating string, the instrument comprising: a body configured to hold a string in tension while the string vibrates to generate a sound, the body having a back and a side that define a cavity; a soundboard coupled to the side of the body such that the soundboard extends over the cavity, the soundboard sized and configured such that when the string vibrates, the soundboard, in response, vibrates to amplify the sound generated by the vibrating string; a bridge coupled to the soundboard such that when the string vibrates, the bridge transmits energy of the string’s vibration to the soundboard to vibrate the soundboard, the bridge also coupled to the string such that the string terminates at the bridge; and an anchor that couples the bridge with the side of the body and diverts force carried in the bridge, away from the soundboard and to the side of the body, the anchor including: a cleat that is coupled with the side of the body, and a tie that couples the cleat with the bridge.

2. The musical instrument of claim 1 wherein the body is sized and configured for a guitar.

3. The musical instrument of claim 1 wherein the soundboard covers the cavity.

4. The musical instrument of claim 1 wherein the soundboard includes a sound-hole over which the string extends.

5. The musical instrument of claim 1 wherein the anchor is adjustable to divert all of the force carried in the bridge when the string is in tension but not vibrating to generate a sound.

6. The musical instrument of claim 1 wherein the anchor is adjustable to divert some of the force carried in the bridge when the string is in tension but not vibrating to generate a sound.

7. The musical instrument of claim 1 wherein the force carried in the bridge that the anchor diverts includes torque.

8. The musical instrument of claim 1 wherein the force carried in the bridge that the anchor diverts includes compression.

9. The musical instrument of claim 1 wherein the force carried in the bridge that the anchor diverts includes a first component parallel to the soundboard, and a second component perpendicular to the soundboard.

10. The musical instrument of claim 1 wherein the bridge includes a bridge pin that couples the bridge with the soundboard.

11 . The musical instrument of claim 1 wherein the tie of the anchor also couples the bridge with the soundboard.

12. The musical instrument of claim 1 wherein the bridge includes: a base, a saddle that transmits vibrations of the string to the base, and a ridge that the tie contacts and that is located adjacent the saddle.

13. The musical instrument of claim 1 wherein: the bridge includes a base, and a saddle that transmits vibrations of the string to the base, the string is releasably fastened to the bridge at a first location on the bridge, and the tie is releasably fastened with the bridge at a second location on the bridge, the first location being closer to the cleat than the second location.

14. The musical instrument of claim 1 wherein the tie is a rod operable to carry compression.

15. The musical instrument of claim 1 wherein the tie is a flexible cable operable to carry tension.

16. The musical instrument of claim 1 wherein: the anchor also includes: a receiver that holds an end of the tie and that includes a threaded portion, a bolt that includes a threaded body, and the cleat includes a receptacle configured to receive and hold the bolt when the bolt’s threaded body threadingly engages the receiver’s threaded poprtion.

17. The musical instrument of claim 1 wherein the cleat is mounted to the side of the body.

18. The musical instrument of claim 1 wherein: the cleat includes: a foot mounted to the back of the body adjacent the side of the body, wherein the foot includes a hook and an end having a thread, and a grommet mounted to the soundboard adjacent the side of the body and aligned with the foot’s end, the tie includes a first end having a loop sized and configured to be held by the hook of the cleat’s foot, and when the anchor diverts force carried in the bridge, the tie passes through the grommet, and the hook of the cleat’s foot holds the tie’s loop.

19. A method for generating a sound from a vibrating string, the method comprising: generating tension in a string that is held over a soundboard of a musical instrument by a bridge that is coupled with the soundboard; with an anchor coupled with a side of a body of the musical instrument, anchoring the bridge to the side of the body, the body having a cavity defined by the side and a back of the body, wherein the soundboard extends over the cavity; the anchor diverting force carried by the bridge away from the soundboard and to the side of the body of the musical instrument; vibrating the string to generate a sound; the bridge transmitting the vibrations of the string to the soundboard; the soundboard vibrating in response to the vibrations transmitted by the bridge.

20. The method of claim 19 wherein anchoring the bridge to the side of the body of the musical instrument includes adjusting the anchor to change a component of the force carried by the bridge that the anchor diverts.

21 . The method of claim 20 wherein the component of the force carried by the bridge that the anchor diverts is the direction of the force.

22. The method of claim 19 wherein diverting force carried by the bridge includes diverting all of the force carried by the bridge, when the string is in tension but not vibrating to generate a sound.

23. The method of claim 19 wherein diverting force carried by the bridge includes diverting torque carried by the bridge.