FR2615313A1 - Integral electro-acoustic guitar of the 3rd generation hyperformal model - Google Patents

Integral electro-acoustic guitar of the 3rd generation hyperformal model Download PDF

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Publication number
FR2615313A1
FR2615313A1 FR8706622A FR8706622A FR2615313A1 FR 2615313 A1 FR2615313 A1 FR 2615313A1 FR 8706622 A FR8706622 A FR 8706622A FR 8706622 A FR8706622 A FR 8706622A FR 2615313 A1 FR2615313 A1 FR 2615313A1
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acoustic guitar
integral electro
electro
guitar according
integral
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    • GPHYSICS
    • G10MUSICAL INSTRUMENTS; ACOUSTICS
    • G10HELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H3/00Instruments in which the tones are generated by electromechanical means
    • G10H3/12Instruments in which the tones are generated by electromechanical means using mechanical resonant generators, e.g. strings or percussive instruments, the tones of which are picked up by electromechanical transducers, the electrical signals being further manipulated or amplified and subsequently converted to sound by a loudspeaker or equivalent instrument
    • G10H3/14Instruments in which the tones are generated by electromechanical means using mechanical resonant generators, e.g. strings or percussive instruments, the tones of which are picked up by electromechanical transducers, the electrical signals being further manipulated or amplified and subsequently converted to sound by a loudspeaker or equivalent instrument using mechanically actuated vibrators with pick-up means
    • G10H3/18Instruments in which the tones are generated by electromechanical means using mechanical resonant generators, e.g. strings or percussive instruments, the tones of which are picked up by electromechanical transducers, the electrical signals being further manipulated or amplified and subsequently converted to sound by a loudspeaker or equivalent instrument using mechanically actuated vibrators with pick-up means using a string, e.g. electric guitar
    • G10H3/185Instruments in which the tones are generated by electromechanical means using mechanical resonant generators, e.g. strings or percussive instruments, the tones of which are picked up by electromechanical transducers, the electrical signals being further manipulated or amplified and subsequently converted to sound by a loudspeaker or equivalent instrument using mechanically actuated vibrators with pick-up means using a string, e.g. electric guitar in which the tones are picked up through the bridge structure
    • GPHYSICS
    • G10MUSICAL INSTRUMENTS; ACOUSTICS
    • G10DSTRINGED MUSICAL INSTRUMENTS; WIND MUSICAL INSTRUMENTS; ACCORDIONS OR CONCERTINAS; PERCUSSION MUSICAL INSTRUMENTS; AEOLIAN HARPS; SINGING-FLAME MUSICAL INSTRUMENTS; MUSICAL INSTRUMENTS NOT OTHERWISE PROVIDED FOR
    • G10D1/00General design of stringed musical instruments
    • G10D1/04Plucked or strummed string instruments, e.g. harps or lyres
    • G10D1/05Plucked or strummed string instruments, e.g. harps or lyres with fret boards or fingerboards
    • G10D1/08Guitars
    • GPHYSICS
    • G10MUSICAL INSTRUMENTS; ACOUSTICS
    • G10HELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H2220/00Input/output interfacing specifically adapted for electrophonic musical tools or instruments
    • G10H2220/461Transducers, i.e. details, positioning or use of assemblies to detect and convert mechanical vibrations or mechanical strains into an electrical signal, e.g. audio, trigger or control signal
    • G10H2220/465Bridge-positioned, i.e. assembled to or attached with the bridge of a stringed musical instrument
    • G10H2220/471Bridge-positioned, i.e. assembled to or attached with the bridge of a stringed musical instrument at bottom, i.e. transducer positioned at the bottom of the bridge, between the bridge and the body of the instrument
    • GPHYSICS
    • G10MUSICAL INSTRUMENTS; ACOUSTICS
    • G10HELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H2220/00Input/output interfacing specifically adapted for electrophonic musical tools or instruments
    • G10H2220/461Transducers, i.e. details, positioning or use of assemblies to detect and convert mechanical vibrations or mechanical strains into an electrical signal, e.g. audio, trigger or control signal
    • G10H2220/465Bridge-positioned, i.e. assembled to or attached with the bridge of a stringed musical instrument
    • G10H2220/485One transducer per string, e.g. 6 transducers for a 6 string guitar
    • GPHYSICS
    • G10MUSICAL INSTRUMENTS; ACOUSTICS
    • G10HELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H2220/00Input/output interfacing specifically adapted for electrophonic musical tools or instruments
    • G10H2220/461Transducers, i.e. details, positioning or use of assemblies to detect and convert mechanical vibrations or mechanical strains into an electrical signal, e.g. audio, trigger or control signal
    • G10H2220/525Piezoelectric transducers for vibration sensing or vibration excitation in the audio range; Piezoelectric strain sensing, e.g. as key velocity sensor; Piezoelectric actuators, e.g. key actuation in response to a control voltage

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  • Physics & Mathematics (AREA)
  • Engineering & Computer Science (AREA)
  • Acoustics & Sound (AREA)
  • Multimedia (AREA)
  • Stringed Musical Instruments (AREA)

Abstract

The present invention relates to an electro-acoustic guitar resulting from the improvement and the integration of the components of the instrument patented under the reference 8312128. It is characterised by a simplification of the design of the body, combined with a modular structure relating to three optional or removable pieces of equipment A moulded, compensated and adjustable fret board 4. A transducer bridge 5 structured along the front face of the instrument. A electronic system composed of a control module MC with an electronic unit UE and placed in two casings integrated with the internal structure 3. The aesthetic appearance, functional nature, adaptation to injection moulding and to ultra-fast multi-phase adhesive make it extremely cost-efficient instrument.

Description

Figure 2 s La présente invention concerne une guitare électro-acoustique résultat de l'amélioration et de l'intégration des composants de l'instrument breveté sous la référence 83I2I28
I1 est caractérisé par une simplification conceptuelle du corps associée à une structure modulaire concernant trois équipements optionnels ou démontables +++ Une touche moulée , compensée et réglable (4) +++ Un chevalet-traniducteur (5) structuré suivant la face avant de 1' instrument +++ Un système électronique composé d'un module de commande MC et d'une unité électronique UB 6 et placé dans deux boitiers intégrés à la structure interne (3)
L'esthétique et le fonctionnalisme , l'adaptation au moulage par injection et aux adhésifs multiphases ultra-rapides , en font un instrument trés performant au niveau qualité/prix
La figure I montre l'évolution formelle de l'objet de cette invention par rapport aux deux références du marché +++ Le modèle  de facture traditionnelle +++ Le modèle B selon le brevet Maman , moulé avec un fond courbe +++ Le modèle C HYPERFORKEL présentant des nouveautés au niveau de la touche (4) ,de la structure interne (3) , de l'organisation du système électronique associé au nouveau ohevalet-transducteur (5) et du fonctionnalisme ( courbure composée CP , appui pour le bras droit (AP) , plaque support (10) .)
La figure 3 montre la structure de l'instrument de deuxième génération selon le brevet n83I2128 ( assemblage struotural section As ) ,avec quelques améliorations et adaptations pour une facture trés haut de gamme par des Luthiers , en ce qui concerne la plaque supérieure (3) et la oontre-éclisse ( section 1C )
La figure 4 représente la structure de troisième génération .La structure interne (3) porte le renfort du manche (6) , le système de réglage (7)+(9) et intègre l'embout du manohe,los boitiers électroniques (8) et la contre-éclisse dont la section SA montre le profil spécial, la diction SB montre en coupe la composition an bras . Le renfort (6) , réalisé on OOm- posite pultrudé verre-polyester ou carbone-époxy , est logé dans l'empla- cement situé dans la partie supérieure de la structure interne (3) . Cette situation permet d'encaisser les contraintes de flexion-cotpression dues à la tension des cordes.
Figure 2 s The present invention relates to an electro-acoustic guitar resulting from the improvement and integration of the components of the patented instrument under the reference 83I2I28
I1 is characterized by a conceptual simplification of the body associated with a modular structure concerning three optional or removable equipment +++ A molded, compensated and adjustable key (4) +++ A traniductive bridge (5) structured along the front face of 1 instrument +++ An electronic system composed of an MC control module and a UB 6 electronic unit and placed in two boxes integrated into the internal structure (3)
The aesthetics and functionalism, the adaptation to injection molding and ultra-fast multiphase adhesives, make it a very efficient instrument in terms of quality / price.
Figure I shows the formal development of the object of this invention compared to the two market references +++ The model  of traditional invoice +++ The model B according to the Maman patent, molded with a curved bottom +++ The C HYPERFORKEL model presenting innovations in terms of the key (4), the internal structure (3), the organization of the electronic system associated with the new ohevalet-transducer (5) and functionalism (compound curvature CP, support for the right arm (AP), support plate (10).)
Figure 3 shows the structure of the second generation instrument according to patent n83I2128 (struotural assembly section As), with some improvements and adaptations for a very high-end invoice by Luthiers, with regard to the upper plate (3) and the counter-splint (section 1C)
Figure 4 represents the third generation structure. The internal structure (3) carries the reinforcement of the handle (6), the adjustment system (7) + (9) and integrates the end of the manohe, the electronic boxes (8) and the counter-fishplate whose section SA shows the special profile, the diction SB shows in section the composition at arm. The reinforcement (6), made from glass-polyester or carbon-epoxy pultruded laminate, is housed in the location located in the upper part of the internal structure (3). This situation makes it possible to withstand the bending-pressure pressures due to the tension of the strings.

Le système de réglage du manche (7)+(9) réalisé en acier inoxydable ou en titane permet de oorriger les déformations du manche . Ainsi réalisé ce dernier est trés rigide , procure un excellent sustain au son , la continuité structurale avec la caisse de résonance est intégralement assurée
La figure 5 montre la conception de la contre-éclisse (3) dont le profil est constitué de plots d'adhésion (3b) indépendants dans un mouvement de rotation autour d'un axe perpendiculaire à la table d'harmonie grâoe aux interstices (3a) .Ces plots d'adhésion permettent de coller la structure interne sur la table d'harmonie (2) en suivant exactement le profil de celle-ci .Le corps moulé (I) est collé sur une surface continue perpendiculaire à celle des plots tandis que un rebord (3c) assure la jonction esthétique entre la table d'harmonie et celui-ci
La figure 6 montre la liaison de la table d'harmonie et du corps qui est ainsi simplifiée et améliorée par rapport au système proposé par le brevet US NO 4213370 par exemple .Le raccord (3d) élastique permet une déformation longitudinale de la contre éclisse lors de l'assemblage pour rattraper les défauts de profil éventuels
Les boitiers (8) sont intégrés à la structure interne (3) , ils possèdent un rebord (8a) inférieur à l'épaisseur du corps (I); celui-ci étant élastique, peut s'enclencher sur oe rebord et suivre parfaitement le profil imposé par l'ensemble (2)+(3)+(6) au moment du montage
Les figures (7) , (8) , (9) et (IO) montrent un exemple de structuration interne correspondant à un moulage par injection . Sur la figure 7 apparaissent les trois zones Za , Zb et Zc correspondant au réglage de la touche avec les deux rainures permettant son alignement et les emplace ment s des vie de fixation
La figure 11 présente une caractéristique fondamentale et nouvelle de la touche (4) . Celle-ci est moulée en une seule pièce avec le sillet .Les vis (II) permettent de régler la hauteur des cordes graves ou bien aigus dans la sone Zc.On peut ainsi régler le jeu J entre les cordes et les frettes moulées (4a). Les vis (I2) permettent de fixer la touche sur le manche
La figure I2 définit trois zones distinotes t
Zb oorrespond à la fixation de la touche , par l'intermédiaire de quatre vis . Zc correspond au réglage du sillet .Za correspond à la compensation de la position des frettes (4a) par rapport au noeud de vibration de la note fondamentale jouée . En effet si on considère la hauteur du sillet R Dorrespondant au diapason D et les points SI sFQ ,B3 E4 correspondant successivement aux distances 3D/2 , D/2 , et D/4 lorsque le musicien appuie sur la corde (I3) pour jouer une note ç on remarque que la distance séparant le milieu de la corde vibrante li de la touche (4) reste constante alors qu'elle devrait décroitre proportionnellement à la longueur utile de celle-ci en raison de l'amplitude décroissante des ventres de vibration
I1 convient donc de compenser cette distance en relevant la zone Za de la touche par l'intermédiaire de la vis (lia) principalement pour les cordes aiguës , le même réglage pouvant se faire pour les cordes graves mais celui-ci nsest pas justifié en raison de la rareté d'utilisation des sonorités graves dans cette zone de la touche
La figure (I3) montre un exemple de conception d'une telle touche avec son sillet (4c) , ses vis de fixation (12) et ses vis de réglage (11) et (lia)
La figure 14 montre l'emplacement des rainures (4b) guidant les cordes et assurant un jeu minimal Jb
La figure I5 montre les nervures de positionnement (4e) et un logement (4d) permettant de placer un profilé composite augmentant l'élasticité de la touche
La figure I6 montre comment obtenir un profil techniquement efficace des barrettes moulées (4a) . Les touches des guitares "BONV' présentent un profil moulé suivant la figure I7 .Ce profil présente une nette amélioration du point de vue ergonomique . Cependant il s'avère lourd au toucher et manque de précision en ce qui concerne le positionnement dynamique des doigts sur les frettes .Afin d'obtenir un profil plus performant les barrettes sont réalisées par un plan en dépouille (4a) et l'espace séparant celles-ci est constitué de deux zones X (4g) plane et (4f) courbe ( circulaire , parabolique ou hyperbolique ) . Ainsi la sensation kinésique entre les doigts des musiciens et la touche est plus précise ,plus agréable et plus efficace que sur une succession de gradins
Une autre modification fondamentale concerne le chevalet-transduoteur(5).
The handle adjustment system (7) + (9) made of stainless steel or titanium allows to correct the deformations of the handle. Thus realized the latter is very rigid, provides excellent sustain to the sound, structural continuity with the sound box is fully ensured
FIG. 5 shows the design of the counter-fishplate (3), the profile of which is made up of independent adhesion pads (3b) in a rotational movement around an axis perpendicular to the soundboard thanks to the interstices (3a These adhesion pads allow the internal structure to be bonded to the soundboard (2) by exactly following its profile. The molded body (I) is bonded to a continuous surface perpendicular to that of the pads while that a rim (3c) ensures the aesthetic junction between the soundboard and the latter
Figure 6 shows the connection of the soundboard and the body which is thus simplified and improved compared to the system proposed by US patent NO 4213370 for example. The elastic connection (3d) allows a longitudinal deformation of the back plate during of the assembly to make up for any profile defects
The boxes (8) are integrated into the internal structure (3), they have a flange (8a) less than the thickness of the body (I); the latter being elastic, can snap onto the edge and perfectly follow the profile imposed by the assembly (2) + (3) + (6) at the time of assembly
Figures (7), (8), (9) and (IO) show an example of internal structure corresponding to an injection molding. In Figure 7 appear the three zones Za, Zb and Zc corresponding to the adjustment of the key with the two grooves allowing its alignment and the locations of the fixing lives
FIG. 11 presents a fundamental and new characteristic of the key (4). This is molded in one piece with the nut. The screws (II) allow you to adjust the height of the bass or treble strings in the Zc sone. You can thus adjust the clearance J between the strings and the molded frets (4a ). The screws (I2) allow to fix the key on the handle
Figure I2 defines three distinguished areas t
Zb corresponds to the fixing of the button, by means of four screws. Zc corresponds to the setting of the nut. Za corresponds to the compensation of the position of the frets (4a) relative to the vibration node of the fundamental note played. Indeed if we consider the height of the nut R Corresponding to the tuning fork D and the points SI sFQ, B3 E4 corresponding successively to the distances 3D / 2, D / 2, and D / 4 when the musician presses on the string (I3) to play a note ç we note that the distance separating the middle of the vibrating cord li of the key (4) remains constant whereas it should decrease in proportion to the useful length of this one because of the decreasing amplitude of the vibration bellies
It is therefore advisable to compensate for this distance by raising the zone Za of the key via the screw (IIa) mainly for the treble strings, the same adjustment being able to be made for the bass strings but this is not justified because the rarity of using bass tones in this area of the button
Figure (I3) shows an example of the design of such a key with its nut (4c), its fixing screws (12) and its adjustment screws (11) and (lia)
Figure 14 shows the location of the grooves (4b) guiding the strings and ensuring minimal play Jb
Figure I5 shows the positioning ribs (4e) and a housing (4d) for placing a composite profile increasing the elasticity of the key
Figure 16 shows how to obtain a technically efficient profile of the molded bars (4a). The keys of the "BONV 'guitars have a molded profile according to figure I7. This profile presents a clear improvement from an ergonomic point of view. However, it turns out to be heavy to the touch and lacks precision with regard to the dynamic positioning of the fingers on The frets. In order to obtain a more efficient profile, the bars are produced by a draft plane (4a) and the space separating them consists of two flat X (4g) and curved (4f) zones (circular, parabolic or hyperbolic). So the kinesic feeling between the musicians' fingers and the key is more precise, more pleasant and more effective than on a succession of steps
Another fundamental modification concerns the bridge-transducer (5).

La figure I8 montre un chevalet de conception traditionnelle - collé sur la table d'h3rsonie . Le transducteur est constitué par des pastilles piezo-électriques (19) - les vibrations des cordes (I3) sont transmises par le sillet (50). Du fait de l'étroitesse de la rainure de positionnement ,la convection électrique (20) est particulièrement difficile à réaliser . De plus le sillet tend b basouler dans son logement et le transducteur fonctionne dans de mauvaises conditions
La figure (I9) montre un chevalet conçu selon l'invention .Celui-ci est démontable et fixé sur la table d'harmonie par des vis (I4) . I1 est supporté par une cale (I6) d'épaisseur variable . L'accrochage des cordes se fait par l'intermédiaire d'une plaque métallique (I5) qui permet en plus la mise à la masse afin d'éliminer les parasites induits par l'élec- tricité statique ( effet de main ) . Une nouveauté structurale concerne le système de transmission des vibrations mécaniques des cordes vers le transducteur (I7) par l'intermédiaire de plots individuels (5c) déformables dans la zone (5a) .La transmission des signaux électriques se fait par un branchement (I7a) .
Figure I8 shows a easel of traditional design - glued to the hsoncraft table. The transducer is made up of piezoelectric pads (19) - the vibrations of the strings (I3) are transmitted by the saddle (50). Due to the narrowness of the positioning groove, electrical convection (20) is particularly difficult to achieve. In addition, the nut tends to roll in its housing and the transducer works in poor conditions
The figure (I9) shows an easel designed according to the invention. It is removable and fixed on the soundboard by screws (I4). I1 is supported by a shim (I6) of variable thickness. The strings are hooked via a metal plate (I5) which also allows grounding to eliminate parasites induced by static electricity (hand effect). A structural novelty concerns the system for transmitting mechanical vibrations from the strings to the transducer (I7) by means of individual studs (5c) which can be deformed in the area (5a). The transmission of electrical signals is via a connection (I7a) .

La figure 20 montre l'action mécanique des cordes (I3) sur le transducteur (I7) . Celui-ci peut comporter une languette d'accrochage facilitant son interchangeabilité . Une pièce d'usure (I8) peut être interposée sur les plots (5c) . La table d'harmonie (2) est renforcée par une plaque (2a) autorisant la fixation du chevalet par vissage . Un contacteur (17b) est disposé sur la plaque-support pour venir en correspondance avec les contacts (I7a) du transducteur
La figure 2I montre un exemple de réalisation d'un transducteur capable de siintégrer au chevalet afin de constituer un tout fonctionnel .Les signaux électriques sont générés par six éléments de film piézo-électrique de 40 microns d'épaisseur environ , repère (I9) .Ces signaux sont collectés par un circuit (20) .Ce dernier est réalisé par deux oonstituants distincts t une plaque de circuit imprimé (22) comportant les contacts (I7a) recouvert de vernis isolant sauf dans les régions (23)
+++ une plaque (21) constituée de lames conductrices transversales alternées aves des lames isolantes (2nô) assure le couplage des faces supérieures des éléments piezo-éleotriques (I9) aveo les zones non isolées (23) .Ce type de connection est couramment utilisé en électronique
La figure 22 montre le principe d'assemblage du corps de l'instrument de troisième génération s
PHASE I t Un plan P sert de référence ; sur la table d'harmonie (2) disposée à plat est collé le barrage (2a)g le renfort (6) est lui aussi disposé et orienté sur P
PHASE 2 s La structure interne (3) avec la oontre-éclisse et les boitiers électroniques 1 est pressée et collée sur la table d'harmonie en oême temps que le renfort (6) .Des gabarits de profil pissés latéralement assurent la bonne disposition de la contre-éclisse
PHASE 3 s Le système de réglage (7)+(9) est disposé dans la rainure correspondante de la structure interne (3).
Figure 20 shows the mechanical action of the strings (I3) on the transducer (I7). This may include a hooking tab facilitating its interchangeability. A wearing part (I8) can be interposed on the studs (5c). The soundboard (2) is reinforced by a plate (2a) allowing the bridge to be fixed by screwing. A contactor (17b) is arranged on the support plate to come into correspondence with the contacts (I7a) of the transducer
FIG. 2I shows an exemplary embodiment of a transducer capable of integrating into the bridge in order to constitute a functional whole. The electrical signals are generated by six elements of piezoelectric film of approximately 40 microns thick, reference (I9). These signals are collected by a circuit (20), which is produced by two separate components: a printed circuit board (22) comprising the contacts (I7a) covered with insulating varnish except in the regions (23).
+++ a plate (21) made up of alternating transverse conductive strips with insulating strips (2nô) ensures the coupling of the upper faces of the piezoelectric elements (I9) with the non-insulated areas (23). This type of connection is commonly used in electronics
Figure 22 shows the principle of assembly of the body of the third generation instrument s
PHASE I t A plane P serves as a reference; on the soundboard (2) placed flat is stuck the barrier (2a) g the reinforcement (6) is also arranged and oriented on P
PHASE 2 s The internal structure (3) with the counter-splice and the electronic boxes 1 is pressed and glued to the soundboard at the same time as the reinforcement (6). Side-pissed profile templates ensure the correct arrangement of backstop
PHASE 3 s The adjustment system (7) + (9) is arranged in the corresponding groove of the internal structure (3).

PHASE 4 : Aprés enduction avec un adhésif, le corps (I) , moulé sous épaisseur constante et déformable , est appliqué sur le sous-ensemble précédent
En utilisant des adhésifs multiphases ultra-rapides le montage du corps peut être automatisé et assuré en quelques dizaines de secondes . Celui-ci peut alors outre traité en finition puis équipé de ses accessoires
La fabrication et le montage sont plus rapides et plus rationnels
A l'inverse des guitares acoustiques de facture traditionnelle auquelles on surajoute un micro et un préamplificateur , la guitare électro-acoustique intégrale forme un tout structural avec le transducteur et le système électronique
PHASE 4: After coating with an adhesive, the body (I), molded under constant and deformable thickness, is applied to the previous sub-assembly
By using ultra-fast multiphase adhesives, the mounting of the body can be automated and ensured in a few tens of seconds. This can then be further processed and then equipped with its accessories
Manufacturing and assembly are faster and more efficient
Unlike traditional acoustic guitars to which we add a microphone and a preamplifier, the integral electro-acoustic guitar forms a structural whole with the transducer and the electronic system.

Claims (8)

I) Guitare électro-acoustique intégrale structurée par un renfort inti, rieur an"T" caractérisée en ce que cette structure interne (3) intègre par continuité et en une seule partie l'embout du manche ,la contre-éclisse et les boitiers électroniques I) Integral electro-acoustic guitar structured by an internal reinforcement, laughing at "T" characterized in that this internal structure (3) integrates by continuity and in a single part the end of the handle, the counter-splint and the electronic boxes REVB;DICATIONS  REVB; DICATIONS 2) Guitare électro-acoustique intégrale selon la revendication (I) caractérisée en ce que la oontre-éclisse est composée d'une succession de plots d'adhésion (3b) espacés par des interstices déformables (3a) 2) Integral electro-acoustic guitar according to claim (I) characterized in that the counter-splint is composed of a succession of adhesion pads (3b) spaced by deformable interstices (3a) 3) Guitare électro-acoustique intégrale selon la revendication (I) caractérisée en ce que la structure interne (3) comporte un logement au niveau du bras pour recevoir un renfort (6) longitudinal (section SB)  3) Integral electro-acoustic guitar according to claim (I) characterized in that the internal structure (3) comprises a housing at the level of the arm to receive a longitudinal reinforcement (6) (section SB) 4) Guitare électro-acoustique intégrale selon la revendication (I) caractérisée en ce que sa touche démontable (4) présente trois zones: Zc pour le réglage du sillet , Zb pour la fixation et Za pour la compensation 4) Integral electro-acoustic guitar according to claim (I) characterized in that its removable key (4) has three zones: Zc for adjusting the nut, Zb for fixing and Za for compensation 5) Guitare électro-acoustique intégrale selon la revendication (4) caractérisée en ce que le réglage du sillet (4c) et la compensation sont assurés par des vis de pression (il) et (lla)  5) Integral electro-acoustic guitar according to claim (4) characterized in that the adjustment of the nut (4c) and the compensation are ensured by pressure screws (il) and (lla) 6) Guitare électro-acoustique intégrale selon les revendications(I)et(4) caractérisée en ce que l'espace compris entre deux frettes moulées (4a) comporte un espace (4g) plan suivi d'une rampe (4f) courbe assurant la jonction avec le plan en dépouille de celles-ci 6) Integral electro-acoustic guitar according to claims (I) and (4) characterized in that the space between two molded frets (4a) comprises a space (4g) plane followed by a ramp (4f) curve ensuring the junction with the plan in clearance of these 7) Guitare électro-acoustique intégrale selon la revendication (I) caractérisée en ce que son chevalet démontable (5) moulé comporte un logement (5b) suivant le plan de la table d'harmonie afin d'intégrer le transducteur (I7) t avec sur sa partie supérieure une série d'éléments d'appui (5c) déformablos dans la zone (5a) afin de transmettre les vibrations mécaniques des cordes k ce dernier . 7) Integral electro-acoustic guitar according to claim (I) characterized in that its removable bridge (5) molded comprises a housing (5b) along the plane of the soundboard in order to integrate the transducer (I7) t with on its upper part a series of support elements (5c) deformed in the area (5a) in order to transmit the mechanical vibrations of the strings to the latter. 8) Guitare électro-acoustique intégrale selon la revendication (7) caractérisée on ce que le transducteur (I7) intégré au chevalet (5) est constitúé d'un circuit imprimé (22) selon la figure 2I supportant les élé ments de film piézo-électrique (I9) ; le contact étant assuré par une plaque conduotrice (21) venant on appui sur les parties supérieures des éléments transducteurs (I9) et les sones (23) non isolées correspondantes.  8) Integral electro-acoustic guitar according to claim (7) characterized in that the transducer (I7) integrated into the bridge (5) consists of a printed circuit (22) according to Figure 2I supporting the piezo film elements electric (I9); the contact being ensured by a conductive plate (21) coming to bear on the upper parts of the transducer elements (I9) and the corresponding non-insulated sones (23).
FR8706622A 1987-05-11 1987-05-11 Integral electro-acoustic guitar of the 3rd generation hyperformal model Pending FR2615313A1 (en)

Priority Applications (1)

Application Number Priority Date Filing Date Title
FR8706622A FR2615313A1 (en) 1987-05-11 1987-05-11 Integral electro-acoustic guitar of the 3rd generation hyperformal model

Applications Claiming Priority (1)

Application Number Priority Date Filing Date Title
FR8706622A FR2615313A1 (en) 1987-05-11 1987-05-11 Integral electro-acoustic guitar of the 3rd generation hyperformal model

Publications (1)

Publication Number Publication Date
FR2615313A1 true FR2615313A1 (en) 1988-11-18

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Family Applications (1)

Application Number Title Priority Date Filing Date
FR8706622A Pending FR2615313A1 (en) 1987-05-11 1987-05-11 Integral electro-acoustic guitar of the 3rd generation hyperformal model

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Country Link
FR (1) FR2615313A1 (en)

Cited By (2)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
WO2003094146A1 (en) * 2002-05-03 2003-11-13 Mario Urbanski Claudio String instrument with sound enhancing channel extending in the neck
EP1865493A1 (en) * 2006-06-08 2007-12-12 Claudio Mario Urbanski Stringed instrument

Citations (6)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
US3396284A (en) * 1965-08-30 1968-08-06 Baldwin Co D H Electric guitar bridge
US3530228A (en) * 1968-04-23 1970-09-22 Baldwin Co D H Electric guitar piezoelectric transducer bridge with replaceable string height adjustors
US4172405A (en) * 1977-10-25 1979-10-30 Kaman Aerospace Corporation Stringed instrument construction
US4320684A (en) * 1980-03-03 1982-03-23 Bozo Podunavac Guitar construction
FR2549629A1 (en) * 1983-07-20 1985-01-25 Gallo Jean Pierre Integral acoustic guitar and manufacturing method therefor
WO1986007484A1 (en) * 1985-06-08 1986-12-18 Syrinx Innovations Limited Contact microphones for guitars and like instruments

Patent Citations (6)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
US3396284A (en) * 1965-08-30 1968-08-06 Baldwin Co D H Electric guitar bridge
US3530228A (en) * 1968-04-23 1970-09-22 Baldwin Co D H Electric guitar piezoelectric transducer bridge with replaceable string height adjustors
US4172405A (en) * 1977-10-25 1979-10-30 Kaman Aerospace Corporation Stringed instrument construction
US4320684A (en) * 1980-03-03 1982-03-23 Bozo Podunavac Guitar construction
FR2549629A1 (en) * 1983-07-20 1985-01-25 Gallo Jean Pierre Integral acoustic guitar and manufacturing method therefor
WO1986007484A1 (en) * 1985-06-08 1986-12-18 Syrinx Innovations Limited Contact microphones for guitars and like instruments

Cited By (2)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
WO2003094146A1 (en) * 2002-05-03 2003-11-13 Mario Urbanski Claudio String instrument with sound enhancing channel extending in the neck
EP1865493A1 (en) * 2006-06-08 2007-12-12 Claudio Mario Urbanski Stringed instrument

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