GB2475728A

GB2475728A - Musical stringed instrument combining features of guitars and banjos

Info

Publication number: GB2475728A
Application number: GB0920867A
Authority: GB
Inventors: Drew Charlton
Original assignee: Individual
Current assignee: Individual
Priority date: 2009-11-27
Filing date: 2009-11-27
Publication date: 2011-06-01
Also published as: GB0920867D0

Abstract

A stringed instrument 1 is disclosed which combines features of an acoustic guitar and a banjo to produce many of the sound qualities of the banjo with the easy play characteristics of the acoustic guitar. The instrument 1 includes a hollow body 2 having a sound hole 6, a bridge 10, and a banjo-style tail piece 12. The instrument 1 incorporates a neck 8, angled between 85-90° and connected to the body 2 at an angle of between 87-93°. The neck 8 includes a fret-board 13, and a headstock 14 at angled at 18-220 to the neck 8; the headstock 14 has a nut 34 to hold four strings, The neck 8 includes a second nut and an aperture, wherein a fifth string passes over the nut and through the aperture. Each string terminates in a tuning key. A pick-up 7 and audio jack (21) may be included.

Description

Musical Instrument The present invention relates to a musical instrument.

Five string blue grass Banjos have a very distinctive and pleasing sound but they do need to be cared for and properly maintained. They can be very difficult for the novice musician to understand its complexity. The skin or head of a five string banjo has to be kept in tune regularly and can change dramatically if kept under dry conditions. It can also get complicated when choosing what type of skin or head to use on the banjo, should one break, as they come in many different styles, types and thickness. The whole instrument must be in tune with itself and its string tunings. Not easy for a novice player. Should a skin break it can be very costly and difficult to replace and will probably need to be done by a professional. When the skin or head needs adjusting, the back or resonator has to be removed to gain access to the twenty four skin adjusters and is difficult for the beginner to fully grasp should something go wrong. Some five string blue grass banjos can be very heavy and clumsy due to there metal construction. They become cumbersome, even when using a strap. The banjo can also cause fatigue to the musician when playing for prolonged periods of time because of its sheer weight. * 20

****..

Furthermore, there are also limitations when a banjo is played through an amplifier. The transducer, an electronic device used to pick up the instruments **..

vibrations when using an audio lead and an amplifier, can only be located in a specific ** *s : * * position under the skin, and powered by a 9volt battery. That has to be changed if the instrument is played frequently. The transducer comes in two parts one part transducer, the second, a small thin oblong shaped piece of metal that you have so stick to the under side of the skin directly above the transducer. This takes a fair amount of skill to set up. Most new bought banjos are not fitted with this device and they are very expensive to purchase. They can restrict the audio output when playing through an amplifier, as there is little or no adjustment. The sound can become distorted when using audio amplifiers, foot pedals and recording equipment. They can be too sensitive or not sensitive enough and they cannot be finely tuned the same as a pick up because a transducer and a pickup are two completely different things. The pick up system is an all in one component and has plenty of adjustment and they come in many shapes and sizes. But there is a pick up system that fits in the fret board of any instrument and works in the same fashion.

To overcome these problems, the present invention proposes a new style of instrument; a short necked, lightweight, semi electric acoustic, five sthnged instrument that keeps the characteristics similar to a banjo but plays with a unique acoustic sound giving optimum pleasure, easy action, bright clean tones, and good sustain. Many musicians are always looking for new sounds and instruments.

The object of the present invention is to provide a new style musical instrument including some properties of a banjo but overcoming some of its difficulties.

According to the invention there is provided a musical instrument including 15. a hollow body having a back, a front and sides, the front including * asoundhole; * a bridge; *.S.

* a banjo-style tail piece; * a neck angled at 85_900 and connected to the body at an angle of between : 20 87-93° and provided with * . : * a fret board along its length; * * a headstock provided at its distal end, set at an angle of 18-22° to the * S neck, S. ** : * * * a top nut to hold four strings * an aperture at one side of the neck, provided with a top nut for one string, * five strings, extending from the tail piece, over the bridge, across the sound hole, four of the strings extending up the neck to the top nut on the headstock and to windings provided in the headstock, the fifth string passing over the top nut on the neck, through the aperture, and extending along the neck to its winding.

The instrument of the invention combines features of the acoustic guitar with feature of the banjo providing an instrument with many of the sound qualities of the banjo but with the easy of play of the acoustic guitar.

Preferably the body of the instrument is made from Imbuya, Sitka Spruce or Western red cedar but it could be made from Rosewood, Maple, Indian Rosewood, Mahogany or any stable hard wood, tin, re cycled plastic and melamine. I prefer to make the body in a teardrop shape but could be an acoustic guitar style shape, round, heart shaped or any shape and size desired.

Preferably the front of the body is provided with cross-members for structural support, the cross members are typically hand made from split, straight grained, quarter sawn Sitka Spruce that are glued using aliphatic resin to a specific location on the underside of the instruments top. They are designed to cross over directly under where the bridge is to be located as this supports the pressure from the bridge when the instrument is tuned and is part of the design as this gets the maximum sound from the instrument. Preferably cross members are also provided on the back of the I..

* instrument must also be made from split, straight grained, quarter sawn Sitka Spruce. *SS *.**

* 20 The sides of the body can also include end blocks for further structural **S** * * support. Typically these will be made of mahogany because it is the best wood for its I..... * S

sound qualities but could be made from oak, maple ply wood or any hard wood. * * **..

r Preferably the neck of the instrument will be made from America Maple but it could be made from Mahogany, Imbuya, or any hard wood. Preferably the fret board of the instrument is made from Imbuya but could be made from ebony, mahogany, Indian rosewood, or any suitable hard wood.

I prefer to make the headstock in the shape of a tear drop to match the shape of the body. However, it can also be of any desired shape.

Preferably the fifth string winding is located on the headstock, but could be fitted on the side of the neck.

Preferably the fifth string nut is hand made from bone but could be made from metal or hardened plastic.

Preferably the top nut is hand made from bone but could be made from metal or hardened plastics material.

Preferably the bridge is a banjo-style bridge. It may be made from Spruce and Ebony. Additionally the bridge may include hardwood veneer shims glued to its feet to enhance grip the top of the instrument. The bridge could also be made from plastic, aluminium, brass or steel. Alternatively the bridge could be a saddle and bridge set up, the same as a standard acoustic guitar, still using the banjo-style tailpiece.

Preferably the tailpiece is that of an adapted chromed metal five string banjo style tailpiece. Generally the tail piece will be made of chromed metal.

Typically the neck will include a truss-rod for structural support. Preferably the truss rod is made from stainless steel and carbon fibre tubing, but it could be made *S..

. : of plain steel and plastic tubing. *.a. * . *S..

Preferably the frets are made of hard wearing metal, but could be of bone, *... S. * . wood or plastics material.

S..... * S

* S. Generally the instrument will also include a pickup for connection to **Si * * amplifying equipment. This will usually be provided just below the end of the fret board. Advantageously, the instrument may also be provided with a jack socket connected to the pickup.

Typically the strings will be made from steel but could be made from nylon Usually the strings will be at substantially 4mm distance between the fret board and the string to give the perfect string action To help the understanding of the invention, a specific embodiment thereof will now be described by way of example and with reference to the accompanying drawings, in which: Figure 1 is a front view of the instrument according to the invention; Figure 2 is a rear view of the instrument; Figure 3 is an expanded inside view of the instrument; Figure 4 is an expanded view of the neck assembly of the instrument: Figure 5 is an expanded view of the tailpiece.

Referring to Figures 1 and 2, the instrument I has a body 2, which I prefer to construct it out of imbuya wood and spruce wood, as makes it lightweight and gives it the best sound quality. However, the body could also be made of other woods, for example cherry, maple, mahogany, plywood, plastic, and even metal. These different materials give different qualities and sound characteristics and can be chosen according to the sound desired. As shown the body 2 is a teardrop shape. The instrument could also be made in the shape of a standard acoustic guitar or any shape or style as desired. This again does affect the sound quality, as well as the look of the instrument when using different woods.

The thickness of the body also affects the sound quality. The body 2 has a top S...

: 3 and a back 4. The top 3 has a thickness of 2mm but the thickness can be between * S..

2mm and 4mm. The back 4 has a thickness of 2.5mm but can be a thickness between 2.5mm to 4mm. The body is also provided with two sides 5, I prefer to use wood of * . 2mm in thickness but the thickness could be between 2mm and 3.5 mm and is S.....

* steamed into shape using a preformed jig and is held together using aliphatic resin *:* wood glue. The shape of the body 2, is that of a tear drop with curved sides narrowing . * inward to the neck end of the instrument and is of the measurement 435mm length 345mm width 95mm in depth at the tailpiece end 80mm at the neck end. I prefer this shape as it gives better results in tone and is less complex making it easier to construct. But it could be of any shape and size as desired The body 2 is also provided with an elliptical aperture 6 known as the sound hole which is 105mm diameter 75mm width and is offset closer to the fret board and is positioned 200mm from the neck end and 132mm from each of its sides and central to the instrument for playability reasons. The purpose of the elliptical shape and location of the sound hole is that because the instrument is tuned in the same key as a banjo, it is played the same as a banjo. When playing a banjo, the player will always have to rest either the ring finger or the little finger or both fingers onto the top of the instrument as a rest. While it is possible to provide a sound hole of different dimensions and in a different position, should the aperture be round and cantered to the body 2 or located anywhere but specified, when playing the instrument, either with picks or without, the aperture 6 is likely to become an obstruction to a player. If the elliptical aperture is in any other position than that specified, the players fingers are likely to interfere with the instruments top 3 making it very difficult to play.

The body 2 is also provide an elliptical sound hole surround 6a made from imbuya and being 120mm length 90mm width 10mm depth 3mm in thickness with internal measurements that of 105mm diameter 75mm width.

The body is also provided a chrome pick up 7. This is a standard device and can be purchased from any good music shop. It has an oblong aperture with half rounded ends and a plastic cradle that has two fixing screws at both ends for use when fitting and adjusting. The pick up I use measures, 64mm length, 14mm width, 23mm depth and is supplied with its own cradle and fittings, but any standard pick-up will be acceptable. It is cut into the top 3, at a distance of 15mm from the end of the fret *:* board and 100mm in from each side of the top. The purpose of the pick up is so that the instrument can be used on electrical equipment such as amplifiers and foot pedals *S*S.

* etc but the pick up is optional to the instrument and will work without one. S.... * S

* * The body also provides a wooden pickup surround 7a, which is made from *5S.

* :* imbuya and measures 85mm in length, 34mm depth, 10mm width, 3mm thickness with the edges rounded off and internal measurements 66mm length, 16mm width which is for locating the pickup. The instrument also provides two 25mm length m3 screws 7b for attaching the pickup to the body of the instrument. Again this is optional.

The instrument further includes a neck 8, which I prefer to make from American maple but may also be made from mahogany, jmbuya, Indian rosewood or other hard woods. The length of the neck is 530mm but it could be between 525mm and 535mm and a depth of 15mm but could be between 14mm or 17mm. The neck 8 is positioned at an angle of 87degrees to meet the body angle of 91 degrees. I join the neck 8 to the body 2 by way of a routed dovetail joint 20 the dovetail joint being a measurement of 22mm width and 45mm in depth. However, the connection between the neck and body could be made in any other way for example, riveting, mortise and tenon joint. The purpose of the angle is so that the strings 9 sit at the correct height from the bridge 10 to the top nut 34 to give the best string action or playing action. I prefer to provide a gap between the fret board 13 and the strings of approximately 3.5mm, but it could be between 3mm and 4mm and could be adjusted to any personal preference by adjusting the instruments truss rod 24 which will make the neck 8 bend at the top nut end of the instrument, raising the string height.

The body is also provided with 5 loop end banjo strings 9, known as light gauge strings. These being a D string 1st silvered steel 0.25mm, B string 2 silvered steel 0.30mm, G string 3'' silvered steel 0.4 1mm, D string 4th nickel wound 0.58mm G string 5th silvered steel 0.25mm but could be any gauge desired. There must be a 4mm distance between the fret board and the strings, known as the string action.

Accuracy is crucial, but there is a tolerance for the string action of between 3.5mm and 5mm. The strings could be of any required gauge to suit. The gap between the strings and the fret board 13 is important because if it were too low the strings would . bounce off the metal frets 39, known as fret buzz, this renders the instrument *S..

unplayable. But there is plenty of scope in the measurements and could be between I... .* * 3mm and 4mm and could be adjusted to any personal preference by adjusting the ***.*.

* instruments truss rod 24 which will make the neck 8 bend at the top nut 34 end of the a * instrument, raising the string height. * S.. *5 *S * . S

* 25 The instrument is also provided a 50mm five string banjo style bridge 10, which is hand made from spruce and ebony, but could be purchased from any good music shop, with mahogany veneer hard wood shims 11, glued with aliphatic resin to its feet. The bridge being a measurement of, 76mm length 17mm height 3mm width on its top or ebony end and 7mm width of the feet and situated at a specific location.

That location being the measurement of, 130mm from the tailpiece and centred parallel to the fret board / neck. This location of the bridge is crucial for intonation and tuning. But because the bridge 10 is not glued to the top 3 and should never be glued, the intonation can be altered by moving the bridge up closer to the neck 8 or down closer to the tailpiece 12 for fine tuning.

The body is also provided an adapted 50mm metal banjo style tailpiece 12, which can be purchased from any good music shop and is a crucial part of the design.

It exerts a downward pressure on the bridge to force the strings 9 and bridge 10 against the top 3 of the instrument so as to play it affectively. This downward pressure is a crucial element to the sound.

The body is also provided a fret board, 13, made from Imbuya and is glued directly over the length of the neck using aliphatic resin. It measures 450mm length 30mm width at the head stock end 50mm width at the sound hole end. While I prefer to make the fret board from imbuya, it could be made of mahogany, maple or any hard wood. The neck 8 also provides a top nut 33, made from bone and being a measurement of, 30mm in length, 9mm depth and 5mm in width with four notches cut in to rest the strings into the notches being a distance from its left side notch one, 3mm notch two, 1 1mm notch three, 19mm notch four, 27mm the nut could be made of dense plastic, brass and aluminium A short length fret board that being of 18 frets the frets 39 made of hard wearing fret wire and measure crown width, 2mm but could be 2.5mm or 3mm the crown height being that of 1.09mm and the tang width being 1mm the fret board 13 being the length of 450mm the depth of 6mm the width being *..S 50mm at its base and 30mm to its top it tapers off at the 4th fret to the top nut. * *

* * Refemng to Figure 3, the body 2 is of a hollow construction and is provided * * s. with two cross member of braces 15 on the underside of its top which are constructed *5..

r* :* of split, straight grained, quarter sawn sitka spruce, and glued to the top using aliphatic resin. I prefer to use 10mm width 15mm depth with the centre cross over point at a measurement of 130mm from the tailpiece 12 end and centred to the top 3.

However, they could be made from oak, beech or even hard dense plastic. The back 4 is also provided with two braces 1 6of split, straight grained sawn Sitka spruce, and spaced at 100mm distances apart. The purpose of the cross member on its top is to support the pressure from the bridge 10 when under stress from the strings and provides the tonal qualities.

The body 2 is also provided with mahogany kerfings 17, which are used to hold the top and back on the instrument using aliphatic resin. The kerfings measure 530mm length, 16mm width, 7mm depth at its top, 3mm depth at its base, but could be 18mm width 8mm depth 4mm depth. In addition they could be made of plywood or any suitable flexible wood and glued using aliphatic resin.

The body 2 is also provided with two mahogany end blocks 18, 19. End block 18 has a measurement of 46mm width, 30mm depth, 80mm length and is used for connecting the neck to the body using a dove tail joint 20, that measurement being 22mm width 15mm depth 30mm length. End block 15 is of 50mm width, 15mm depth, 95mm length and is used to support the sides f the instrument. I prefer to use mahogany for the end blocks as it gives good tone qualities but it could be oak, American maple or even ply wood.

The body 2 is also provided a /4 inch audio jack socket 21, which is soldered from the jack socket to the pick up 7, using 1.5mm single core audio lapped screen cable 22, 550mm length. The pickup end of the audio cable must not be soldered until the top has been attached. Because the neck 8 assembly has to be completed before the pick up can go into the body. Once this is completed, the end of the audio cable can easily be retrieved from the body and soldered to the pick up. The audio cable is * held in place inside the body at its top kirfings 17 with four 7mm squared self adhesive Velcro tape spaced 150mm evenly apart starting at the jack socket 21 and * : must be fitted before the top is attached. Otherwise it will be very time consuming * * trying to feed the cable round the body once the top is glued into place. *... * * *S..

: ** Included in the body is a jack socket aperture 23, for bolting the jack socket to and is drilled at the bottom side of the instrument nearest to end block 21, 50 mm in from each side and 70mm in from the centre of the end block and a diameter of 8mm.

Referring to Figure 4, the neck 8, is provided with a truss rod 24 which is made from a stainless steel rounded bar 26, and a carbon fibre tube or sleeve 25. The stainless steel truss rod being a measurement of 4mm in diameter and is 365mm in length, and has a thread 26, taped at both ends, the thread being of 4mm at a length of 15mm. The carbon fibre sleeve / tube being the measurement of 6mm in its diameter 4mm internal and 345 in length. The truss rod could be made from 4mm or 5mm steel and the sleeve could be made from plastic and have a diameter of 7mm and internal diameter 5mm. The truss rod also provides two brass truss rod bearing washers 27, of a square shape of 3mm thickness 15mm length 15mm width, with a hole drilled in its centre of 4mm. and are fitted to the top and bottom of the truss rod and slots into a channel cut out where the neck meets the headstock and at the dove tail joint end at a dept of 15mm 3mm width. The truss rod 24 is used for fine adjustments to the neck8. The truss rod also provides one m4 nut 28. The truss rod also provides an anchor nut 29 that is of m4 nylock. The diameter of the carbon fibre tubing 25,being the measurement of 6mm in its external diameter and 4mm internal and 345mm in length. It is positioned between the neck and the fret board and sits in a routed channel 31, the channel being central to the fret board and the width of 6mm and the depth of 7mm at the nut end and ascending to 12mm at the body end of the neck and is covered by a fillet of maple 32, measuring 345mm length 6.5mm width 10mm depth which is glued using aliphatic resin.

The neck 8 also provides a truss rod cover 33, made from recycled plastic cd covers, although it could be made from any other hard plastics material. The cover being the shape of a crown and is 60mm length 40mm width at its top 20mm at its * base 4mm thickness and has two holes drilled each side of the cover 10mm in from *. * * each side 35mm up from its base It is screwed to the head stock over the top of the *S..

truss rod bolt using two 4mm width 8mm length stainless steel counter sunk screws * * 33a.

**** ** * * The neck 8 also provides a top nut 34 made of bone. The bone nut being a ***.

** ** measurement of, 30mm in length, 9mm depth and 5mm in width with four notches cut in to rest the strings into the notches being a distance from its left side notch one, 3mm notch two, 11mm notch three, 19mm notch four, 27mm and glued into place using aliphatic resin. I prefer to use bone for the top nut because it gives the best resonance and sound to the instrument but it could be of hardened plastic and bought ready cut and shaped from any good music shop The neck 8 is also provided with a bass tube 35, for inserting the fifth string from the tail piece 12 to the machine winding 38 eliminating the fifth string winding from the centre of the neck and incorporating the winding to the machine head. The brass tube 35 being a diameter of 3mm and the length of 150mm is placed in the channel 36 The channel having been carved out of the face of the neck that being the measurement 150mm down from the nut 34 and 5mm in from the necks left side to a depth of 4mm and is glued in using aliphatic resin before the fret board is fitted. The tubing could be made from aluminium or copper but must be of the same diameter.

The neck 8 is also provided a hand made fifth string nut 37, made of bone 8mm length 4mm diameter drilled 4mm depth 4mm width at the fifth fret wire 165mm from the headstock 5mm from the top edge of the fret board 13 and protrudes 3mm high off the fret board. This is crucial for the fifth string action. But could be a height of between 3mm to 4mm and could be made from bone or metal. I prefer to use plastic or bone as this gives a better tone to the instrument as the fifth string is of vital importance to the sound of the instrument. The accuracy of the measurements is crucial to the intonation. The fifth nut 37 can be purchased from any good music shop ready cut and finished.

The neck is also provided a headstock 14 that is of a tear drop shape to match the shape of the instrument and is used for housing the five machine heads / string *:: : windings 38. But it could be any shape desired. The headstock being a length of .* 185mm and a width of 30mm at the nut end and 85mm at its centre point to 30mm *S..

wide at its top. With the depth ofl8mm. The headstock shape is cut in conjunction with the neck and at an angle of 20 degrees from the nut end. The machine heads / string windings are bolted into six 6mm diameter holes drilled at even intervals. Three * .. to the left hand side, two on the right hand side. The right hand side measurements being that of the first hole 75mm from the nut and 15mm from the left side. The second being 45mm up from the first hole 15mm in from the left hand side. The third being 45mm up from the second hole 15mm in from the left hand side. The right hand side measurements being that of the fourth 75mm from the nut 15mm in from the right hand side the fifth being 45mm from the fourth 15mm in from the right hand side of the headstock. This measurement is crucial because if they were located anywhere else on the headstock the strings would touch each other on the shafts of the machine heads, causing string binding. The purpose for the specific angle of the headstock 14 is that for giving greater pressure to the strings 9 which push downward at the nut 34 end of the instrument. This helps toward a greater overall tone to the instrument. But the angle could be between 18 degrees and 25 degrees. The machine heads / string windings 40, are that of the same style as a banjo and can be purchased from any good music shop. But they can be of any style or shape desired.

The neck 8 is also provided a fret board, 13, made from Imbuya and is glued directly over the length of the neck using aliphatic resin. It measures 450mm length 30mm width at the head stock end 50mm width at the sound hole end. While I prefer to make the fret board from imbuya, it could be made of mahogany, maple or any hard wood. The neck also provides a top nut 33, made from bone and being a measurement of, 30mm in length, 9mm depth and 5mm in width with four notches cut in to rest the strings into the.notches being a distance from its left side notch one, 3mm notch two, 1 1mm notch three, 19mm notch four, 27mm the nut could be made of dense plastic, brass and aluminium A short length fret board that being of 18 frets the frets made of hard wearing fret wire and measure crown width, 2mm but could be 2.5mm or 3mm the crown height being that of 1.09mm and the tang width being 1mm the fret board being the length of 450mm the depth of 6mm the width being 50mm at its base and 30mm to its top it tapers off at the 4th fret to the top nut.

The neck 8 also provides eighteen frets 39, each fret is cut into the fret bard s. using a gent saw to the depth of 4mm distance measures from the head stock 38mm, S 5$.

for first fret, 74mm to second fret, 107mm, for the third, 137mm, 158mm, 196mm, 222mm, 246mm, 271mm, 293mm, 314mm, 334mm, 354mm, 371mm, 387mm, * 403mm, 4 18mm, 433mm,being the length of 450mm the depth of 6mm the width being 50mm at its base and 30mm too its top it tapers in at the 5th fret at a 5.I.

** measurement of 5mm to the end of the fret board I prefer to use a short 18 fret for : * 25 comfort but the neck could be of full length that being of 22 frets 495mm length The neck 8 also provides seven fret markers or fret inlays 40. These are made from recycled cd cases. But can also be of any shape desired and made from mother of pearl, tortoiseshell, ivoroid, abalone or brass and are inlayed into the fret board.

Fret marker number one being any shape is inlayed on the front face of the fret board and positioned at the third fret. Having a measurement from the face of the top nut 34 to the first inlay on the third fret, 90mm and centred to the fret board. Fret marker number two is positioned at the fifth fret. Having a measurement from the face of the top nut to the second inlay 153mm and centred to the fret board. Fret marker number three is inlayed at the seventh fret 210mm from the top nut and centred to the fret board. Fret marker number four is inlayed at the tenth fret 283mm from the top nut and centred to the fret board. Fret marker number five is inlayed at the twelfth fret 3 24mm from the top nut and centred to the fret board. Fret marker number six is inlayed at the fifteenth fret 380mm from the top nut and centred to the fret board. Fret marker number seven is inlayed at the seventeenth fret 412mm from the top nut and centred to the fret board.

Referring now to Figure 5, the tailpiece 12 has been adapted by drilling two 4mm counter sunk holes 41, on the thumb screws resting plate 42, at a measurement of 6mm in from each side and 4mm in from the top. The holes are then countersunk to a depth of 3mm. It is screwed to the body using two 3mm diameter 12mm length stainless steel countersunk screws 43, the stainless steel screws are of a hard metal which gives a solid contact between the tailpiece and the body of the instrument contributing to its sound qualities. The tailpiece 12 also provides a thumb screw adjustment bolt 44, for adjusting the 50mm tailpiece arm 45, up or down off the top 3 of the instrument to give the desired string pressure. I prefer to use this style of tail :. piece because its simplicity to adapt. On a banjo style instrument, the tail piece is bolted to the metal flange or outer ring that secures the tail piece in place. Because the invention has no flange or outer metal ring to fix the tail piece to, I preferred to : remove the bolt from the original tail piece and use the rear part of the bracket housing to drill the fixing holes. S... * .

The tailpiece arm 45, is the most crucial part of the tailpiece 12 and is screwed : * 25 to the base plate 42, using two m4 6mm bolts 42a. The length of the tailpiece has a great deal to do with achieving the desired string angle and sound as it increases the string pressure against the bridge to give the instrument its bright tone and assures that the strings vibrations are directed to the head stock 14 end of the instrument and not absorbed by the tailpiece. The length of the tailpiece arm could be from 50mm to 60mm. The tailpiece is adjusted to an angle of an approximate 13 degrees measured from the tailpiece arm to the tailpiece bracket or from the top face of the instrument.

But it could be adjusted between the angles of 13 decrees to 15 decrees. If there is not enough string pressure, it could create tonal and amplitude issues causing the instrument to become quiet and unplayable. The standard five string banjo style tailpiece 12 also provides five loop end pegs 46, of which the strings attach to. The bridge also provides two prongs 47, which push into the top 3 of the instruments wood, before attaching the screws 43 and provides an added contact to the top of the instrument contributing to its tonal qualities. I prefer to use the standard five string 50mm banjo tailpiece as they are easy to purchase and good value for money.

The invention is not intended to be restricted to the details of the above-described embodiment. For instance, the instrument is typically made according to the size and dimensions described, as these dimensions suit an average musician and obtain a pleasant sound. However, the instrument can be made of any size to suit a particular musician or to achieve a particular sound. * ,* * *-* *e. * a ** )* a a * a

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Claims

CLAIIvIS: 1. A musical instrument including * a hollow body having a back, a front and sides, the front including * a sound hole; * abridge; * a banjo-style tail piece; * a neck angled at 85-90° and connected to the body at an angle of between 87-93° and provided with * a fret board along its length; * a headstock provided at its distal end, set at an angle of 18-22° to the neck, * a top nut to hold four strings * an aperture at one side of the neck, provided with a top nut for one string, * five strings, extending from the tail piece, over the bridge, across the sound hole, four of the strings extending up the neck to the top nut on the headstock and to windings provided in the headstock, the fifth string **SS .. : passing over the top nut on the neck, through the aperture, and extending along the neck to its winding.

* 20
2. An instrument as claimed in claim 1, wherein the instrument is constructed mainly * * * of wood.

****** * *
3. An instrument as claimed in claim 1 or claim 2, wherein the body is a tear-drop shape.
4. An instrument as claimed in claim 1 or claim 2, wherein the body is an acoustic guitar body shape.
5. An instrument as claimed in claim 1 or claim 2, wherein the body is round in shape.
6. An instrument as claimed in any preceding claim, wherein the body includes internal structural support.
7. An instrument as claimed in claim 6, wherein the structural supports are cross-members, designed to cross directly under the bridge.
8. An instrument as claimed in any preceding claim, wherein the headstock is in the shape of a tear drop.
9. An instrument as claimed in any preceding claim, wherein the fifth string winding is located at the headstock.
10. An instrument as claimed in any one of claims ito 8, wherein the fifth string winding is located on the side of the neck.
11. An instrument as claimed in any preceding claim, wherein the top nut is made from bone.
12. An instrument as claimed in any preceding claim, wherein the bridge is a banjo-style bridge.
13. An instrument as claimed in claim 12, wherein the bridge is provided with hardwood veneer shims on it feet to enhance grip with the front of the instrument.
14. An instrument as claimed in any one of claim ito 11, wherein the bridge is a saddle and bridge set up.
15. An instrument as claimed in any preceding claim, further including a pickup for connection to amplifying equipment.
16. An instrument as claimed in claim 15, further including a jack socket connected to the pickup. S. * .**S *5SSSS **S *.S 5*5* IS *. * SS