JPS6324295A - Guitar - Google Patents

Abstract

(57) [Abstract] This bulletin contains application data before electronic filing, so abstract data is not recorded.

Description

DETAILED DESCRIPTION OF THE INVENTION The present invention provides a method for substantially improving the sound of a guitar.
Concerning improvements to the structure of guitars.

As is known, a classical guitar is made of a hollow resonator body with an opening in the front, on which is arranged a collection of six strings extending along the neck. These strings can optionally be tensioned by pins operatively located at the end of the neck. This assembly is completed with a number of frets of bone and metal arranged laterally along the neck so that the distance from the resonator body increases from then on to the free end of said neck.

“Treble” that produces the best pitched sound
By the natural nature of the strings, from J to the lowest note playing path, by effectively shortening any such string, by applying manual pressure to the strings in the spaces between successive frets, the guitar An extremely wide range of timbres is achieved which provides this musical element function.

The frets, which allow the timbre of each string to be adjusted in a conventional manner, are then fixed laterally to the neck of the guitar in an orientation that is linear, parallel and perpendicular to the axis of the neck.

This is because, as is known, the neck tapers slightly towards its free end, so that each fret is One assumption is that a perfectly regular criss-cross between the frets and the strings is achieved by taking consistent lengths for the entire group of strings.

However, as shown, this perfect symmetry determined by the traditional lateral positioning of the frets relative to the axis of the neck does not preserve true parallelism.

Surprisingly, in order to obtain a scale tuned to a theoretical or ideal scale, the frets mentioned above must have irregularities realized in trills or intonations that determine the shortening of the length of the strings at each fret. One essential feature of the invention that we have found to be provided is precisely constituted by the presence of said frets, together with the particular form and arrangement of their intonations extending over the neck of the guitar.

In a more specific mode, the frets are conventionally spaced apart progressively towards the free end of the neck, but with the improvement of the invention, the level of the space between the first and second strings is increased. The intonation at the point of contact with the second string has no effect, however, since such an intonation is guided towards the resonator body, it determines the effective shortening of the treble 1 or the first string.

The effective shortness n of the octopus decreases slightly from the free end of the neck towards the resonator body, corresponding to the decreasing relationship established for the space defined between the frets, and thus There is complete satisfaction between the notes obtained between the strings and the complementary strings.

A similar structure is adopted for the 4th string, in which the intonation of the 4th string is established, and this intonation of the 4th string affects the entire fret, moving the point of contact between the 4th string and the fret towards the resonator body. Thus, the effective shortening of the Ktt string is determined by four of the same characteristics as described for the treble 1 or first string.

According to another feature of the invention, the longitudinal phase shift in the neck of the point at which each fret is actuated for the 'J-/% Hi string with respect to strings other than the 1% D string is determined by the resonance moon (
= - has a value in the range of 1-1 for the spacing between said fret and successive frets in the direction away from H, and the variability of such phase shift is a function of the height of the upper fret relative to the front of the neck. In the case of classical guitar, the preferred 休/, daschi is given.

Obviously, this phase shift remains percentage-wise along the entire neck of the guitar, and the true value of the above phase shift is completely proportional to the decreasing relationship established in exactly the same way at ~1 interval between frets. In equilibrium, it decreases from the free end of the neck toward the resonance MK.

To supplement the description of the invention and to aid in a better understanding of its features, as an integral part of the text of this application:
A set of drawings is attached which shows an illustrative and non-limiting nature.

Referring to the drawings, and in particular to FIG. 1, there is shown a guitar constructed in accordance with the improvements of the present invention having a classical resonator body C, with a neck protruding from the resonator body and above which the classical six strings/ , 1. ．． 3,41.6°6 is placed. These strings are placed in a V arrangement on the frets and are spaced a short distance from the breadboard, this distance being determined by the height of the upper fret, i.e. the fret at the free end of the neck.

The improvement of the present invention specifically lies in the fact that the fret g loses its classical linear form perpendicular to the axis of the neck Vr,
44e, so that at a certain point in the neck, when said fret is manipulated, a certain modulation is also achieved which causes an effective shortening of the guitar string.

- layer To be more specific, as shown in FIG. They are arranged on the same sono line A, A', A'', and in accordance with the classical distance between the frets, a, a'
,,, separated by a great deal.

From this basic configuration, each fret has one modulation section and IO corresponding to the treble string L and the D string D, so when these strings are pressed against the neck, each fret The contact points of the strings ll and l are shifted out of phase towards the guitar's resonant body C, and under these circumstances a physical shortening of these strings occurs.

These modulation units 9 and 10 are arranged in sequence according to the line A cited in Moe.
, Imaginary line B parallel to A' , B/ , B// ,
, , it will be included within.

To be more specific, as mentioned earlier, the string / and l
The imaginary line B' containing the modulator 7' and / 0 / affecting
Its value lies between 1 and 1 of the 1a ruber, which also distinguishes this imaginary line

As the fret g moves away from the resonator, the distance between the frets increases by 1 am, and it is clear that the distance between the modulator and the IO increases.
The lX'' amplitude also increases in absolute value to ), the wa1 value will be maintained between a set level comprised between 7 and 1, and/or the desired value of 5 can be set as a classical guitar.

According to this configuration, the exact appropriateness of the operating points of each fret with respect to different positions is ideal for achieving the perfect acoustics of the guitar. will be achieved.

[Brief explanation of the drawing]

FIG. 1 shows a partial perspective view of a guitar made according to the improved object of the invention. FIG. 2 shows an enlarged partial front view of the neck of the guitar shown in FIG. 7-6610 strings, ? ,,, neck, g, g', g''
,,, fret, wa, IO1ri/ , t O/
, , Modulation section, /l~/A, , Operating point, C
00, Engraving of the resonator drawing (no change in content 2 FIG, -1 FIG, -2 Procedural amendment (method) % formula % 1, Indication of the case 1988 Patent Application No. 155656 2, Title of the invention − 3. Relationship with the case of the person making the amendment Patent applicant address: Guadalajara, Madrid, Abda, India, 35 Name: Antonio Robda Ordonez 4, Agent

Claims (1)

[Scope of Claims] 1. By arranging the frets along the neck with variable length, each said fret is removed from the classical linear configuration perpendicular to the axis of the neck, and is continuous for each string. between each set of frets to determine symmetry or asymmetry with respect to adjacent strings, thereby achieving linear equivalence across all strings for changes in tone between frets. A distinctive guitar. 2. The frets retain straight classical linearity in the sectors of those frets that operate for the 2nd, 3rd, 5th, and 6th strings, and According to claim 1, the frets are subjected to an inflection that moves the working point towards the resonator depending on the working sector, resulting in an effective shortening of these first and fourth strings for all frets of the guitar. Guitar listed. 3. The intonation of the first and fourth strings on each fret determines the phase shift with respect to the straight theoretical line, and its amplitude determines the distance between the above-mentioned imaginary line and the straight theoretical line on the adjacent fret. 1 to 2%, and furthermore, according to claim 1 or 2, the percentage change due to the resonance body depends on the height of the fret associated with the free end of the neck, i.e. the upper fret, relative to the working surface of the neck. Guitar listed. 4. Guitar according to claim 3, wherein the percentage phase shift is preferably 1.45%. 5. A phase shift in the intonation of the frets occurs in absolute value from the resonator body to the free end of the neck, corresponding to the classical gradual increase in the spacing between the frets, and for variable spacing between the frets, relative to said phase. The guitar according to any one of claims 1 to 4, wherein the percentage value is maintained.