WO2017081330A1 - Elements to improve string function on stringed musical instruments - Google Patents

Abstract

The invention relates to improvements for stringed musical instruments and parts thereof.

Description

ELEMENTS TO IMPROVE STRING FUNCTION ON STRINGED MUSICAL INSTRUMENTS

Corresponding application The present application claims priority to earlier national Swiss application N°01657/15 filed on November 13, 2015 in the name of Andreas Hellinge, the content of this earlier application being incorporated in its entirety in the present application by reference.

Field of the invention

The present invention concerns stringed musical instrument, such as violins, guitars etc. and improvement to their parts.

More precisely, the present invention deals with solutions sustaining the vibrating string section on stringed musical instruments in their function. This is achieved on one side by optimizing the parts of the instrument, which serve as suspension/anchor points of the strings, on the other side, by specific string-construction between their suspension- and anchor points. Figures

In the following description, reference will be made to the parts and element illustrated in the figures, which show Figure 1(a) illustrates a front view of a violin as an example;

Figure 1(b) illustrates a side view of a violin as an example;

Figure 1(c) illustrates a cut view of a violin at the level of the bridge;

Figures 2(a) and 2(b) illustrate a peg of a stringed instrument as an example; Figure 3 illustrates a fingerboard of a musical instrument; Figure 4 illustrates the vibration elongation of a string in a stringed instrument; Figure 5 illustrates an embodiment of the invention on a guitar. Background of the invention

The vibrating strings 6 of a stringed musical instrument generate the sound of the instrument.

These strings 6 are attached to specific instrument parts, which serve as their upper and lower anchor 3/11 points. Once mounted, the strings are then tensioned over the suspension points 4/8, which for example are formed by an upper saddle 4 and a bridge 8 in the example of a violin. The strings 6 are either put into vibration by a bow (like on violin family instruments), or plucked (like on a guitar, harp and harpsichord), or hit by a specific instrument part (piano), or a specific hammer held by a musician (cymbal). Normally the string 6 is vibrating between the two suspension points 4/8.

These points are either parts of the instrument (for example bridge 8, upper saddle 4), or one of them is created when the musician's finger stops the string 6 on a fingerboard 5, opposite to the bridge suspension point 8 (for example when playing the violin).

While the string's 6 extremities are anchored at specific parts of the instrument, situated beyond these suspension points 4/8, the upper anchor point 3 will be a mechanism, which allows the string to be tightened and tuned.

One important phenomenon of string 6 vibrations is that a non-vibrating string 6 will describe a straight line between the suspension points 4/8 whereas a vibrating string 25 a kind of curve 25 departing from its initial straight line. Elasticity of the string 6 itself will allow to a very major degree the resulting elongation 25, as the distance between suspension point's 4/8 varies only very little. These tiny variations (distance 4/8) depend on the flexibility of the instrument as a whole. This is illustrated in a simplified manner in figure 4, which shows a string in a resting state ("straight") and in a vibrating state (reference 25); the suspension points 4/8 are showed in fixed positions.

Physical properties of the string 6 (to a high percentage) as well as those of the involved instrument parts (to a low percentage) will define the vibration amplitude 25 in function to the "vibration creating energy input".

Prior art If we take, as a non-limiting example, the case of violin family instruments, their architecture compensates to a small degree the above described phenomena (see figures 1(a) and 1(b)): -) String suspension points are upper nut 4 and bridge 8.

-) The upper nut 4 position holds equally the usually four strings 6; the bridge 8 proposes a more individual and flexible position for each of these four strings 6.

Description of the string 6 at the upper saddle position 4:

The upper saddle 4 is fixed on the neck 26 of the instrument.

This neck 26 is itself fixed to the instrument's resonance body; a certain but low degree of flexibility is the result of this construction.

Description of string 6 position at bridge 8 (figure 1(c)):

Bridge 8 is positioned on the resonance table 7 with its two feet: soprano 19 and bass 18. The strings 6 run with a chosen angle over the bridge 8 (see figure 1(b)).

The string 6 producing the highest frequencies is held in a relatively inflexible way at bridge position 8, as the amplitude of up- and down-movements are concerned. The sound-post 9, connecting resonance table 7 and back 17 of the instrument, is situated very close behind the soprano foot 19 of the bridge 8. The mentioned string 6 vibrates with only small amplitude 25 compared to the following neighbouring strings 6 which are producing the lower frequencies of the instrument. These three other strings 6 held by the bridge 8 are tuned each one fifth lower. Their vibration amplitude 25 is growing approaching the bass side of the bridge 8. Its bass foot 18 is based on a part of the resonance table 7, which is only reinforced by the bass-bar 10. This floating configuration allows bigger amplitude to the bridges 8 bass foot's 18 up- and down- movements.

The bridge's 8 shape is itself conceived for flexibility in regard to back- and forth movements. This traditionally permits a low degree string-length compensation 25 of the vibrating string 6. Nevertheless these back- and forth movements are tributary from properties of the preceding string anchor point 11, and to a lesser extend string anchor point 3.

One must keep in mind that, when violin family instruments were conceived in the 16th century, their four strings 6 were usually made of gut; the lower ones sometimes metal wounded. This means, their basic flexibility properties in one complete string-6 set were comparable, and variations were mainly due to their dimensions and quality variations of the gut material itself.

Today the materials used for modern strings 6 differ a lot: they can be made of rigid metals like steel, as well as based on more flexible synthetic or traditional gut cores. They are mostly covered at least with one metallic layer. The individual distribution of string 6 elasticity and tension in a complete four string-6 set allows to influence to some degree tensions and flexibility within the instrument's different parts and structures. But basically, no reasonable and consequent effort was made to calibrate the individual instrument- accessories (peg 1, upper saddle 4, fingerboard 5, tailpiece 12, tail-gut 13, lower saddle, 15 lower peg 16) properties for efficient compensation of string-elongation due to vibration 25. The nature of the employed strings, as well as the individual flexibility of the instrument body itself must be taken into account. In general, the stiffer an instrument body and/or the stiffer an employed string, the more flexible the string's 6 anchor points 3/11 need to be.

It is therefore an aim of the present invention to propose means to improve the known methods and instruments or parts of instruments.

The instrument-parts that may be optimized for this compensation are now detailed.

First of all, the string 6 itself could present different degrees of elasticity along its length: it could have a certain degree of elasticity in its vibrating section (between 4/8), and another degree of elasticity in its non-vibrating parts (4/3 and 8/11). These are situated between the string's upper and lower anchor points (tailpiece 11/peg 3) and suspension points (bridge 8, upper saddle 4). By using this principle, one may taylor the string to the player of the instrument, and to the characteristics of instrument. The shape of the violin family bridge 8 allows good flexibility when it comes to back-and forth movements on this side of string 6 suspension, and though allows good access to elasticity settled beyond the string suspension point 8, bridge.

A more flexible upper saddle 4 would allow the same at the opposite string suspension point 4, upper saddle.

The stiffness/flexibility/elasticity of the tailpiece 12 and/or lower peg 16 and/or lower saddle 13 and/or tail-gut 15 may define the strings lower anchor point's 11 physical properties on this side of the instrument. The peg shaft 20 on the opposite side of it could also present similar adapted physical properties.

Then the fingerboard's surface 22 does play an important role. Its surface's 22 properties define the quality of string 6 contact when pressed down on it by the player's finger. If this surface 22 is very hard, the string 6 will not be stopped properly from a micromechanical point of view.

Historically, fingerboards 5 were made in the 16^th-18^th century of medium density woods, and only veneered with hardwood; afterwards (about 1800) they were shaped from massif tropical hardwood blocks, mostly ebony.

As mentioned before, from the 16^th to the early 20^th century, gut strings 6 without metallic layers were employed in majority on violin family instruments; the contact of these pressed down to the hard fingerboard's surface 22 was better compared to modern metal wound strings 6. Specific treatments of the raw gut used in string 6 production, was quite common too. This raw gut was sometimes covered with abrasive powders in order to enhance the string's 6 grip to the fingerboard 5 when played by the musician, (see Gustav Pirazzi, Kaiserliches Patentamt Nr 69165, 9.8.1892)

Compared to these older string 6 generations, modern strings 6 are not only metal wound or based, but they also do combine different tension, altered flexibility and resistance to torsion. These features added together do require a specific solution in respect to the contact on the fingerboard's surface 22 when played by the musician.

Today, the properties of the musician's hands and fingertips do play a determining role. If the fingers are strong and meaty, the sound produced will be recognized as pleasant by the audience. Skinny fingers will sound much more "dry".

This situation gets worse when it comes to children playing stringed musical instruments: the more these are situated in the bass register, the less comfortable a child's finger will become in handling their thick strings 6 on hard fingerboard surfaces 22.

The fingerboard surface 22 additionally influences damping of string 6 vibration. When a string 6 switches from one vibration frequency to another, the first frequency needs to be damped to allow the following to begin. Integrated damping systems, or damping resulting on the choice of employed materials may become essential in the string 6 conception.

Increased damping due to the fingerboard's surface 22 can take its part in string 6 damping. Strings 6 can then be better conceived for their "ringing" tasks; new materials can be employed for their fabrication too.

Furthermore, especially when the musician's finger stops notes in higher positions on the fingerboard 5 (closer to the bridge), its hard surface 22 does not well allow the vibrating string 6 to get access to the elasticity of its then non-vibrating portion (part between finger and upper suspension-point 4, and, to some extent, string anchor- point 3).

A well defined, but slightly floating string 6 fixation point on the fingerboard's surface 22 would then allow this access.

Accordingly, in one embodiment, the invention concerns a stringed musical instrument, such as a violin or a guitar, comprising at least one string and with improvements to parts of said instrument at least to compensate a string elongation due to vibration of said string when said instrument is being played, wherein said instrument comprises at least a fingerboard comprising a surface and said fingerboard surface comprises a coating of a material or a mix of materials for presenting a well-defined string fixation on said surface when said instrument is being played.. In one embodiment, the coating material comprises a grip material or an anti-slip material or a damping material.

In one embodiment, the mix of material is present at different three dimensional levels and are symmetric or asymmetric.

In one embodiment, the material is present in different layers fixed together.

In one embodiment, the fingerboard comprises reinforcing fibers. In one embodiment, the fingerboard surface is fixed on the fingerboard or on a fingerboard base.

In one embodiment, the fingerboard surface comprises detectable hardware and/or software references.

In one embodiment, the software references comprise sensors and/or lights.

In one embodiment, the detectable hardware references comprise elasticity or density changes in the fingerboard surface.

In one embodiment, the instrument comprises a tailpiece and the tailpiece is made of an assembly of longitudinal layers having a variable resistance to elongation.

In one embodiment, the tailpiece is made of different veneer layers forming the longitudinal layers. In an embodiment, the tailpiece comprises insertions of different materials as described herein. In one embodiment, the tailpiece comprises string anchor points having different physical properties. For example, the different physical properties are individual and at least one anchor point has different properties than its neighboring anchor points. The tailpiece may comprise insertions of different materials. The tailpiece may also include fine-tuning systems acting then as anchor points. They can be attached to, or integrated in the tailpiece.

Preferably, the construction-architecture allows to define the torque and damping of "springlike" for- and back-movements of each anchor point. In one embodiment, the instrument comprises an upper saddle and said upper saddle is made of a composite structure, said composite structure being formed by assembled multilayer blocks and/or coatings.

In one embodiment, the instrument further comprises a peg for each string, and said peg comprises a shaft made of a composite architecture, said architecture comprising a resistant core partially covered by an elastic material at least in the section where the string is spun around the peg shaft. The contact/friction zone of the peg shaft with the peg box may also comprise elastic material for damping and/or spring-like effects. This friction zone with the peg box 2 may also use materials with incorporated low friction particles like graphite.

In one embodiment, the string or strings present different physical properties in their vibrating part and in the parts beyond said vibrating part.

In one embodiment, a spring-like system is provided on one or both string parts beyond the string's vibrating zone.

In one embodiment, spring-like system with material/architecture allowing the needed degree of damping of said spring-like system is provided. First aspect: fingerboard 5

In a first aspect and embodiment of the present invention, an aim is directed to improve the fingerboard 5 and its surface 22.

Ideally, the fingerboard's surface 22 presents a panache or mix of materials permitting a well- defined string 6 fixation under the player's finger. One material alone may be employed, if it allows an optimized string 6 contact on the fingerboard 5, compared to historically employed tropical hardwoods.

A neat but at the same time floating string 6 fixation point on the fingerboard 5 can be a further aim when conceiving a modern fingerboard surface 22. In this case the degree of the surface's 22 flexibility in all three dimensions will vary, depending on the materials employed, their structure and orientation, as well as calibration of the employed elements.

The fingerboard's 5 properties can vary in function of the utilisation:

if comfort and easy-handling for children or beginners are the aim, or

if sound performance, richness of colours, expressive palette, purity of intonation etc. are seeked. It is important to state at this point that actual strings 6 are conceived for hardwood fingerboard surfaces 22 or hard frets; therefore modified fingerboard surfaces 22 and/or frets will allow new solutions and improvements in this field. The word "fret" designates a small metallic insert in fingerboards 5 (usually on guitar-family instruments) which is placed in a more or less 90° angle to the strings. Frets usually do stand higher in relief on the fingerboard's surface 22, and serve for stopping strings by the musician's fingers on (or just behind) them.

Historically, gut strings, attached around the neck 26 and fingerboard, were also used to form frets.

Second aspect: tailpiece 12

In another aspect of the present invention, the improvement is directed to the tailpiece 12. The tailpiece 12 can be made of different materials.

It should allow individual degrees of elasticity/stiffness for each attached string 6.

This can be achieved by the choice of materials, the architectural construction etc., and their combination.

Special attention should be kept to the individual anchor places 11 for the attached strings 6 (including tail-gut anchor points 14).

The string's 6 anchor points 11 and 14 can sustain the same function as described below for the concept of new strings presenting different physical properties in their vibrating part 4/8 (upper saddle 4 / bridge 8), and their parts beyond this zone 4/3 and 8/11.

The tailpiece 12 could then furthermore sustain the string's 6 action in zone 8/11 by its (12) zone 11/14.

The zone between anchor points 11/14 of the tailpiece working like a calibrated spring could help to compensate time-limited increased string tension due to the musician's playing. In one possibility, the spring-like system in zone 11/14 would become active from a certain point of the string's 6 "over-tension". The spring-like system would then enlarge the zone 11/14, the bridge 8 would bend forwards, and the "over-tension" of the string in zone 4/8 would be compensated by reducing this zone 4/8. The spring-like system can integrate materials and/or present an architecture able to control damping of said system.

It is important to state at this point that actual strings 6 are conceived for traditional tailpieces 12; modified tailpieces 12 will allow new solutions in this field.

Third aspect: upper and lower saddle 4/13

In another aspect of the present invention, the improvement is directed to the upper 4 and lower saddle 13.

Upper 4 and lower saddles 13 can be made of all kinds of materials. Extremely hard materials can be employed, and others presenting a certain degree of elasticity, commonly measured in shore A and D. A flexible upper saddle 4 can work more like the bridge 8 as it's for and back movements are concerned. The lower saddle's 13 physical properties will indirectly influence the physical properties of string 6 anchor points 11. Both saddles flexibility are preferably carefully calibrated.

It is important to state at this point that actual strings 6 are conceived for traditional upper 4 and lower saddles 13; modified saddles 4/13 will allow new solutions in this field. Fourth aspect: lower peg 16

In another aspect of the present invention, the improvement is directed to the lower peg 16. Lower pegs 16 can be made of all kinds of materials. Extremely hard materials can be employed, and others presenting a certain degree of elasticity, commonly measured in shore A and D. The lower peg's 16 physical properties will indirectly influence the physical properties of string 6 anchor points 11. The lower peg's 16 flexibility should be carefully calibrated.

It is important to state at this point that actual strings 6 are conceived for traditional lower pegs 16.

Fifth aspect: peg 1

In another aspect of the present invention, the improvement is directed to the peg 1, and its shaft 20.

Peg-shafts 20 can be made of different materials presenting a certain degree of elasticity, commonly measured in shore A and D. The optimal individual flexibility degree can vary, depending on each string's 6 specific properties. If a construction includes a surface coating, it can also depend on the surface's coating properties. It is important to state at this point that actual strings 6 are conceived for traditional peg- shafts 20.

Sixth aspect: modified string 6 damping

In another aspect of the present invention, the improvement is directed to modified strings 6 due to surface damping of fingerboard 22/frets.

Today's strings 6 are based on gut, synthetic or metallic cores. They are mostly wound with various metals or alloys, and may be composed of several layers, which may contain other material layers, some of them in order to control specifically the damping of vibrations. Control of torsion and longitudinal flexion is another important item of the string's 6 architecture. They are invariably conceived for playing on hardwood surfaces 22 or hard frets. Damping allows the string 6 to switch more easily from one vibration frequency to another; in the jargon of musicians this is called "the response" of a string 6. Fingerboard surface 22/frets can take over a certain degree of damping, which traditionally is incorporated in the strings 6, due to their material composition.

Seventh aspect: string's 6 variable elasticity in their longitudinal distribution

In another aspect of the present invention, the improvement is directed to the strings 6 with variable elasticity in their longitudinal distribution. Traditionally, a string 6 is constructed in a regular manner from one end to the other; additional wrapping is in many cases applied to both extremities: on one side for more grip/resistance when anchored 3 in the peg 1/tuning systems, on the other, for more resistance when anchored 11 in the tailpiece 12 (like on violin family instruments), or bridge 8 (like on many guitar instruments). Ball shaped elements are commonly attached to the string 6, permitting it to be fixed to the anchor points 11 on this side of the instrument. In the case of violin-family instruments, the strings 6 do have a narrow distance to the fingerboard surface 22 at the upper saddle 4. Starting from this upper saddle 4, the more the strings 6 are approaching the bridge 8 their distance to the fingerboard surface 22 is growing. The result is that, when strings 6 are pressed down to the fingerboard surface 22 "in higher positions" (closer to the bridge) by the musician, the string 6 will get supplementary tension. The same is the case when the musician puts the string 6 into vibration. The more the string's 6 vibration amplitude is big, the more the gain of tension will be important.

The string's 6 physical properties (like torsion and flexion) will change according to its tension. As a direct consequence, the sound and handling qualities will change too. These changes are often negative, the sound gets "closed", and playing may become difficult.

Newly conceived strings 6 can present different physical properties in their vibrating part 4/8, and their parts beyond this zone 4/3 and 8/11. The zone between 8/11 of the string 6 working like a calibrated spring could help to compensate time-limited increased string tension due to the musician's playing. In one possibility, the spring-like system in zone 8/11 would become active from a certain point of the string's 6 "over-tension". The spring-like system would then enlarge the zone 8/11, the bridge 8 would bend forwards, and the "over-tension" of the string in zone 4/8 would be compensated by reducing this zone 4/8. The spring-like system may integrate materials and/or present an architecture able to control damping of said system Furthermore a specific architecture of the string 6 in zone 8/11 could influence its properties in terms of resistance to torsion.

The same is true for the string's 6 zone 4/3, if a flexible upper saddle 4 is employed.

Controlled compensation to "over-tension" and other phenomena can be achieved by different calibration of employed materials in the string's 6 vibrating part 4/8 compared to its non vibrating parts beyond 4/3 and 8/11, as well as mixtures with other materials in the string's 6 non vibrating parts, as well as other materials, added elements in the strings non- vibrating parts, and different architectures used for building the string's 6 non vibrating parts.

Differentiated physical properties of the string's 6 vibrating part 4/8 and non-vibrating parts 4/3 an 8/11 are the aim. The dimensions of string sections 11/8/4/3 are quite standard in violin family instruments, with the exception of violas. This makes serial production of this new generation of strings possible. For violas, two or three different standard sizes might be needed for serial production. This is a common feature in string production. Furthermore, for practical reasons of variations in dimensions and string 6 tuning, the string's physical properties in section 4/8 can spread over into the string's 6 parts beyond this section. Examples of realization of the fingerboard 5

The fingerboard 5 and its surface 22 can be made out of all kinds of materials, and in all kinds of assembly configurations. For example the materials include cellulosic based materials like wood, paper, clothe, textile fibres and other porous materials, leather (skin derivate), gut, paraffin, wax, casein, polymerizing oils and resins of different origin, elastomers, rubbers.

Functional aspects will define the fingerboard's 5 properties. The most important of them are: 1) string 6 contact during playing 2) string 6 vibration damping

3) string 6 floating up to 360° between the finger of the musician and the fingerboard's surface 22

4) surface 22 wear

5) string-6 wear

6) stiffness of the fingerboard

7) touch feeling

8) visual aspects like colour or surface brilliance.

9) the surface can furthermore incorporate physical reference- structures, their nature can be hardware and software.

Fingerboard surfaces 22 can be obtained by using only one adapted coating material or panache of different materials. In the latter case, a pixalisation of different elements in one and the same surface 22 will allow the possibility to integrate different physical properties in one and the same fingerboard 5 and/or fingerboard surface 22.

The following solutions for each specific aim can be used alone, or in a free combination between them. Calibration of the different surface 22 elements will then be an important step to allow refined results. Specific elements of the fingerboard's surface 22 can also be situated at different three-dimensional levels than other elements.

Fingerboards 5 and/or their surface 22 can be asymmetric in the distribution of materials and their calibration. Materials employed for the fingerboard's construction can be of natural, organic, artificial, synthetic, mineral and metallic origin For example the materials include cellulosic based materials like wood, bamboo, paper, clothe, textile, fibres and other porous materials, leather (skin derivate), gut, paraffin, wax, casein, polymerizing oils and resins of different origin, elastomers, rubbers. Metallic or fibre insertions can be incorporated for strengthening the fingerboard. Any material can also be used for calibration of weight distribution within the fingerboard. Materials based on plant and animal origin might be preferred for reasons of tradition and compatibility with musical instruments made out of wood. Surface layers 22 can be fixed on traditional fingerboards 5, even if they are already mounted on an instrument.

Surface layers 22, in association with reinforcement structures 23 or not, can also be fixed on other structures, which represent the fingerboard base 24; these structures can be made out of different materials, including all types of wood.

The fingerboard base 24 receiving the surface coating 22 can be part of the neck 26.

String 6 contact to the fingerboard during playing will be enhanced by a fingerboard surface 22 which offers a certain "grip" for the string 6 when pressed down to it by the musician. Presence of a material incorporating "anti-slip"-properties in the said surface 22 would allow fulfilling this task. This material should allow specific mechanical affinities to the string's 6 surface. A well-calibrated panache of material assembly might also be a solution. Examples of materials include elastomers based on polyurethane, silicon and rubber or of different synthetic origin, as well as leather, gut and many others of natural origin. Abrasive materials would fulfil the task too, but may shorten string's 6 life. String 6 vibration damping can be obtained by a fingerboard surface 22, which offers elements capable to damp string 6 vibrations. The presence of an adapted elastomer in the said surface 22 would allow fulfilling this task. According to the "diving-in" of the string into the fingerboard surface 22, string 6 damping can be increased. The palette from softer materials to be found in nature, to highly efficient polyurethane resins and other materials is very large to encounter this challenge. The weight/flexibility of the employed material(s) and their distribution in the fingerboard 5 will play an important role too.

String 6 floating up to 360° between the finger of the musician and the fingerboard's surface 22 can be achieved by employment of material(s) which present flexibility in many-to-all directions parallel to the string's 6 movements. A very simple solution would be using end- grain wood for building a fingerboard surface. The nature and density of the employed wood would then define the degree of desired flexibility. In order to enhance the durability of this flexibility, impregnation with other material(s) can be imagined. As the string 6 is held by a floating/vibrating position on the bridge 8, string 6 length variations are the result of this configuration, even when only one and the same note is produced. If the string's 6 opposite position under the musician's finger on the fingerboard surface 22 would allow string 6 floating too, string length variations can be diminished. A purer sound and a fuller palette of its shades will be the result. Typical woods and material could include woods from high- density to low density. When combined with elastomer impregnation, the percentage of the latter in the fingerboard's surface 22 would increase with the decrease of the employed wood's density. Impregnation materials can be all kinds of elastomers as examples.

Surface 22 wear can be controlled by the choice of the employed material(s). When porous materials like wood are used for the construction of fingerboards 5, densification through compression and/or impregnation/assembly with other materials would help to fulfil this task. Liquids hardening through polymerization like resins or oils, polymer grafting, saturation with heat sensible materials like wax, paraffin, thermoplastics, thermosets, over-layers can be employed. Different materials can be used too. In one preferred embodiment, thin layers of a common hard wood assembled together by a well adapted resin or glue would allow to produce a wear resistant wooden fingerboard 5/surface 22. If the thin wooden layers would be furthermore stained, if necessary impregnated, and then solidly glued together, a perfect ebony replacement material could be produced. A casein-based glue would allow this ebony replacement material to be of a very "naturel" composition. Different material panache is possible too. As fingerboards are traditionally shaped down after longer periods of playing/wear, surface properties and colour should be present in a sufficient thickness of the fingerboard 5 or its surface 22.

String 6 wear on traditional tropical hardwood fingerboards is a problem too. Especially ebony wood incorporates abrasive oxalic-acid crystals. Materials for the construction of fingerboards 5/surfaces 22 can be chosen for their non-abrasive and string 6 wear protective properties. For example non-tropical hardwoods may be employed.

The Stiffness of the fingerboard can be controlled by integrating reinforcement fibres 23 into the fingerboard 5/surface 22 structures. A preferred embodiment is presented in Fig 3, showing a fibre based reinforcement structure 23 between fingerboard surface 22 and fingerboard base 24. This reinforcement structure is obtained by uni-or multi-directional fibres, which are strengthened by an adapted polymerizing, drying or thermo reactive resin or glue, (to name only the most common ones). Examples of fibres are: carbon-glas-basalt fibres, as well as linen-bamboo-sisal fibres.The touch feeling of the fingerboard surface 22 is defined by its haptic properties. A mixture of porosity and smoothness are its main ingredients.

The visual aspects of the fingerboard surface 22 are mainly defined by its colour and brilliance/visual density. As fingerboards are traditionally shaped down after longer periods of playing/wear, surface properties and colour should be present in a sufficient thickness of the fingerboard 5 or its surface 22.

The surface can furthermore incorporate physical reference- structures; their nature can be hardware and/or software. For example, software offering a support for all kinds of registration from theft protection to fingerboard reference data via instrument data banks can be integrated. Visible playing references like lights and/or optical fibers may also be part of the fingerboard's surface 22. Electronic sensors to measure parameters regarding (among others) the player's command of the instrument can be installed too. They may capture items such as the position of the instrument during playing, sound production in terms of quantity and quality and many other references, to name only few. Traditional type of frets 27 can be made of softer materials as those used until now. Reasons for this can be string 6 function, playing comfort, sound, and string 6 preservation. Non-traditional frets can be imagined, consisting of note references incorporated by density/elasticity changes in the fingerboard's surface 22, with no or very little visible relief. Frets 27 can also be only recognized visually. Positions of notes on the fingerboard can be made visible for example by activating incorporated light signals. This possibility can also be available in "real-time", allowing the musician a different approach to learn musical pieces without reading the musical score, or for a new approach of playing together with other musicians. Electronically steered group improvisation sessions could be created on the base of this new possibility. As many good conductors do conduct with some advance to the creation of sound, visible signals on the fingerboard could be visible after the same "time to realization" model. Furthermore, all kinds of data can be taken und used for R&D in instrument making and playing.

Examples of realization concerning the improvement of the tailpiece 12

Tailpieces 12 are made of different materials; traditionally they are made out of wood.

Metal and composite structures, as well as plastics presenting a certain degree of elasticity have been used more recently.

String 6-length elongation due to vibration 25 can be efficiently compensated to a chosen degree when each string 6 is held at an anchor point 11 with specific physical properties. String-length elongation 25 compensation will mainly be achieved by for and back movements of the string's 6 anchor points 11. Vigour and frequency of compensation movements, as well as their degree of independence regarding the neighbour string's anchor point(s) 11, are important aspects of the tailpiece's 12 construction.

The anchor point's 11 and 14 architecture/orientation will determinate the distribution of the forces applied within the tailpiece's 12 structures by the strings 6 and the tail-gut 15. In order to use the common shape of traditional tailpieces 12, one simple possibility would be to work with veneer layers, which can be assembled together with specific degrees of flexibility; the whole range from hard to very flexible can be employed. In a preferred embodiment, one can imagine creating an assembly of longitudinal layers, within the tailpiece's 12 shape. These layers could present a variable resistance to elongation regarding the string's anchor points 11, and be oriented in a more or less upright angle in respect to the tailpiece's 12 surface (this surface is generally incurved in a comparable manner as the fingerboard's surface 22). These layers could be assembled by a resin/glue with a chosen degree of flexibility/hardness, or intermitted by layers with different properties.

Different structures as layers are possible too; the goal being the creation of at least one differentiated string 6 anchor point 11 compared to its neighbour string 6 anchor point(s) 11. The employed materials, their dimensions, physical properties and material-orientation can also be asymmetric. The shape and proportions of the tailpiece can be different from the traditional form too.

The design and integration of the strings anchor-points 11 on one side, and tail-gut anchor points 14 on the opposite side of the tailpiece 12 can also be specific. Their shape/calibration and integration within the tailpiece 12, as well as supplementary materials employed for their construction can define/or help to define the physical properties of these anchor points 11 and 14.

To give an example: a string anchor point 11 made out of steel in the shape of an "L", will, depending on its dimensions and string 6-attach positioning, present a certain degree of elasticity. Other shapes and the employment of different materials can be imagined.

If string 11 and tail-gut anchor points 14 present holes in the tailpiece 12, these can weaken the tailpiece 12 in the concerned regions.

In this case, compensation structures and reinforcements can be used to calibrate the physical properties of string anchor points 11 and tail gut anchor points 14.

The goal is to create individually adapted physical properties of at least one string anchor point 11. The two tail-gut anchor points 14 can be differentiated between them as well.

All elements involved compensating string-length elongation due to vibration 25, from the lower peg 16, lower saddle 13, tail gut 15, tailpiece 12, and string 6 in section 11/8 could be harmonized. A convincing function of the tailpiece 12, respecting the traditional set up on violin family instruments, would be the following:

Starting from a firm anchor point 11 for the highest frequency producing string 6, anchor points 11 become more and more flexible to take their part in compensating the increasing vibration amplitude 25 of each following lower string 6.

This ability will achieve for the bridge's 8 for-and back-movements, what the bridge's 8 support (resonance-table 7/sound-post 9, bass-bar 10), achieves regarding the bridge's 8 up-and down-movements: a progressive compensation, from higher to lower strings 6, of string-length elongation due to vibration 25.

Of course, depending on the nature of employed strings 6, the individual musical instrument and other parameters, compensation movements of the anchor points 11 can follow different rules.

Layers/modules can be of natural, organic, artificial, synthetic, mineral and metallic origin.

Materials based on plant and animal origin might be preferred for reasons of tradition and compatibility with musical instruments made out of wood. Wood veneer, fibres, metal, elastomers, glues, resins have already been successfully tested by us for making tailpieces 12.

Their three-dimensional distribution within the tailpiece includes all possibilities of variations.

Materials, which naturally allow differentiated physical properties of anchor points 11 and/or

14 by their orientation within any shape of a tailpiece 12, can be employed too.

Fine-tuning systems for adjusting the string's exact pitch can be attached to-, or integrated in the tailpiece 12. They can define or help to define the physical properties of the anchor points

11 by their shape, their integration in the tailpiece and materials employed for their construction. In many cases, they will be the strings direct anchor points 11.

The anchor points of strings 11 and tail-gut 14 can incorporate features, which allow specific attachments; like screws for example.

Examples of realization of the improvement to the upper and lower saddle.

The upper 4 and lower saddles 13 can be made of all kinds of materials; the essential of this invention is to allow a certain degree of float in one or more directions for the strings 6 at the upper saddle 4, and the same at the lower saddle 13 for the tail-gut 14.

As the string 6 is suspended with a certain degree of three-dimensional floating at the suspension point bridge 8, the analogue string suspension point upper saddle 4 should allow similar properties.

The upper saddle 4 can present individual physical properties for each string 6.

It 4 can be made with a surface coating, presenting the grooves for the strings inserted in advance; this surface coating can be composite in its structure.

The lower saddle 13 can present individual properties for the two parts of the tail-gut 15 running over it.

The lower saddle 13 can also be extremely resistant, in order to reinforce the firm anchor point 11 for the higher string(s) 6, as mentioned in the example above.

Examples of materials for the upper and lower saddle are all kinds of elastomers, wood layers assembled/impregnated by elastomers, wood layers assembled/impregnated with hard resins or glues. In a preferred embodiment, multilayer blocks consisting of thin wooden veneers assembled with glues or resins can make the saddles 4/13. This assembly can be made with glues/resins varying from hard to flexible.

They also can present a surface coating.

The upper saddle 4 can be part of the fingerboard 5 or its surface 22.

The lower saddle 13 can be part of the tailpiece 12.

Examples of realization of the improvement to the lower peg 16 The lower peg 16 can be made of different materials and different forms.

Materials, calibration and architecture do influence the flexibility of the lower peg 16.

The essential of this invention is the compensation of string-elongation due to vibration. The lower peg 16 can play an important role in this matter.

The lower peg 16 can also be extremely resistant, in order to reinforce the firm anchor point 11 for the higher string(s) 6, as mentioned in the example above (tailpiece 12).

It can be made of the same preferred materials as the upper and lower saddle such as elastomers/wood/hard resins or glues for example .

Examples of realization of the improvement to the peg 1

The pegs 1 and their shaft 20 can be made of different materials such as wood, metal, hard plastics in combination with an elastomer.

The essential about this invention is the compensation of string-elongation due to vibration 25. The pegs 1 can play an important role in this matter. Each peg 1 and its shaft 20 can present specific physical properties in function of the string 6, which is attached to it. String 6-flexibility within the peg box 2 area could be enhanced by specific peg shaft 20 architecture.

As an example: on violins the distance of string anchor point peg 3 to suspension point upper saddle 4 is much shorter on G and E, than on D and A string 6. According to their length in section 3/4, the strings 6 do present a different degree of flexibility in this designed section. One possibility to equilibrate this unequal string length distribution in section 3/4 could be a shaft 20 made in composite architecture for G and E string. In a preferred embodiment, shaft 20 can present a resistant but thin core, which is covered by an elastic material in the section between the sidewalls 21 of the peg-box 2 . The string 6, which is spun around the peg-shaft 20 in this area, would then present an inhanced flexibility in the section between anchor point 3 and suspension point 4. The choice of material and their dimensions would define the degree of compensation in regard to string-elongation due to vibration 25.

Other criteria can lead to different shapes of elastic insertions of the peg-shaft 20.

The peg-shaft 20, and even the entire peg 1 can be made out of new materials with specific properties in different strategic zones of peg 1.

These are:

properties sustaining the compensation of string-elongation due to vibration 25, between a string's anchor point 3 and suspension point 4,

specific properties in the friction zones 21 with the peg-box 2 by insertion in the peg shafts material of low friction elements like graphite soap, Teflon and many more,

specific resistance in fragile zones due to the peg's 1 traditional shape.

A set of similar pegs 1 can be used for one and the same musical instrument.

A set of pegs 1 presenting different physical properties can be used for one and the same musical instrument.

Other types of string anchor points 3/tuning- systems can be adapted with comparable technical solutions in regard of the above-mentioned aims.

Examples of realization of string's 6 damping modifications One of the intentions of this invention is to reduce "multifunction" of some of the musical instrument's components.

If a string 6 is stopped (by the musician's finger) on a soft/elastic surface 22, and especially when this surface 22 allows the string 6 to have a certain degree of "surface-penetration", damping of string 6 vibrations will be generated.

The fingerboard-surface 22 as described above can take, in a variety of configurations, its part in string 6 damping. The employment of specific resins, like elastomers, will be very efficient in this respect.

New generations of strings 6 can be developed..

Traditional core materials like gut and different synthetic cores alone, do already present a certain degree of damping, due to their micromechanical properties.

Core materials possessing less damping potential than those actually employed could be used for string 6 making.

The same is true for all materials, which can be used as layers in string 6 making.

Examples of realization concerning string 6 improvements regarding their longitudinal properties

Strings 6 could present different physical properties in their vibrating part (between 4/8), and their parts beyond this zone (4/3 and 8/11), and thus creating different physical properties in their longitudinal distribution.

This can be achieved in the following ways:

1) By different calibration of employed materials.

One possibility would be the limitation of one to all materials used as wounding layers to the vibrating zone (4/8) of the string 6.

Another configuration could concern the calibration of the core material beyond the string's vibrating zone (4/8).

2) By different architectures of these materials.

One possibility would be a core material made of fibres/filaments/metal wire, which, beyond the string's 6 vibrating zone (4/8), could present wound, spun, twisted, braided or other configurations. The way these core structures are assembled should differ in zone 4/8 compared to at least one of the zones beyond (11/8 and/or 4/3).

Another configuration could be the insertion of elastic materials between these filaments beyond the string's vibrating zone (4/8).

Another configuration could be to split a one-body core into a multi-body core beyond the string's vibrating zone (4/8), and apply the above-mentioned possibilities to this multi-body core. 3) By mixture with other materials/elements.

One possibility would be the attachment of a new (string 6)-element to the extremity of the string 6; this new element should present different physical properties than the string 6 itself. This element could be a spring, or different mechanical feature.

Another possibility could be the (progressive) insertion of different materials in the string's 6 structures beyond the string's vibrating zone (4/8).

Another possibility would be the (progressive) abolition of one or more different string 6 compounds beyond the string's vibrating zone (4/8). The above-mentioned solutions can be applied on both extremities of the string 6, as well as only on one extremity. Different technical solutions can be employed on each extremity of one and the same string 6. All possible combinations of the above-mentioned solutions can be used in one and the same string 6. Differentiated physical properties of the string's vibrating part (4/8) and non-vibrating part(s) (4/3 and 8/11) is the aim of this invention.

Focus is made on compensation of string-length elongation due to vibration 25 between the string's suspension points 4/8. Specific twisting/drilling of the string 6 beyond its vibrating zone 4/8 could furthermore influence the string's 6 resistance to torsion. When lengthened, these twisted/drilled parts would also slightly turn the string's 6 vibrating section 4/8.

The better "string-elongation due to vibration 25" is compensated beyond the string(s) 6 suspension points 4/8, the less the string 6 itself needs to present a compromise of rigidity/elasticity/resistance to torsion in its vibration section (4/8). This achievement means a reduction of multifunction in this section; the vibrating string section (4/8) can be better optimized for its "ringing tasks".

The above-mentioned configurations of the string's vibrating zone between the suspension points 4/8, and its suspension-point/anchor-point sections 4/3 and 8/11 can also be reversed. The dimensions of string sections 11/8/4/3 are quite standard in violin family instruments, with the exception of violas. This makes serial production of this new generation of strings possible. For violas, two or three different standard sizes might be needed for serial production. This is a common feature in string production. Furthermore, for practical reasons of variations in dimensions and string 6 tuning, the string's physical properties in section 4/8 can spread over into the string's 6 parts (3/4 and 8/11) beyond this section.

Examples of possible materials include all materials used for string making, such as different metals and specific alloys of them, natural and synthetic cores and materials in form of filaments and fibres

Fig 1(a) shows a violin in front-view; the reference-parts are named and numbered

Fig 1(b) shows a violin in side view; the reference-parts are named and numbered

It shows the position of the sound-post 9 behind the bridge 8.

It also shows the angle of the strings 6 running over the bridge 8.

It furthermore shows that the neck 26 is attached to the resonance-body, which presents the whole lower part of the instrument, including resonance table 7 and back 17.

The design also gives an idea about that, depending on calibration, the whole instrument presents a natural flexibility; this flexibility partly compensates string elongation due to vibration 25.

From an historical point of view, strings 6 have evolved to stiffer and heavier configurations. Resonance-body parts have been altered towards lighter calibration for more flexibility. These alterations allow more string elongation compensation due to vibration 25 for the stronger modern strings, delivered by the weakened resonance body; the inserted neck 26 is tributary to the physical properties of the resonance-body in this respect. It holds the upper string suspension point 4. This leads to bigger uncontrolled movements, especially at string suspension point 8 and, to a lesser degree, also at string suspension point 4.

Enlarged and chaotic movement amplitudes and associated parasite movements do disturb string-function at suspension points 8 and 4.

The intention of the above described improvements is to compensate string elongation due to vibration 25 by the string's anchor points 3/11, which are in consequence calibrated regarding their flexibility.

This will lower the "multifunctional" tasks of resonance body, which can then become again more resistant.

The sound of the instrument will gain in colour and dynamic range, intonation will be better defined; playing becomes easier too.

Suspension point's 8 and 4 will become more efficient for sustaining string-6 function.

Figl(c) shows a cut through of the resonance-body at bridge 8 position.

The design shows the flexibility of the bridge's bass foot 18, and relative stability of the bridge's soprano foot 19.

The functionality of this configuration is described at the beginning of this description.

Fig 2(a) and (b) show a violin peg 1.

The small hole in the peg shaft 20 presents anchor point 3, where the string is inserted. Figure 2)b) illustrates friction zones 21 of the peg shaft may be made of the peg-material (usually wood), or of a stiff inlay incorporating low friction particles like graphite, or an elastomer inlay with incorporated low friction particles or not. The zone between friction zones 21 can incorporate a flexible but resistant middle-axle running through the peg-shaft 20. Said axle can be covered or not, If covered, then by an elastomer. Said middle-axle can also be of stiff configuration but covered with an elastomer.

All cited configurations can be used alone, or combined with others of them

Fig 3 shows a cut through of a fingerboard 5, and its different layers.

The shown surface- 22 curve gives an indication about the material's structure orientations in the corresponding paragraphs, reference 23 illustrating reinforcement fibres and reference 24 the fingerboard surface.

Fig 4 shows a string 6 in its non-vibrating modus (straight line), and in its 6 vibration modus (incurved line; this is a simplified drawing, only intended to show string 6 elongation due to vibration).

String suspension points 4/8 and anchor points 3/11 are marked too.

The vibrating string 6 enhances the tension of the non-vibrating string sections 3/4 and 8/11.

Figure 5 illustrates a front view of a guitar with frets 27 and other visual references 28 (such as lights) as described above. The example of the invention and improvements given in the present description are for illustrative purposes only and should not be considered in a limiting manner. Other improvements and modifications, realizations are possible using equivalent means and remaining within the spirit and scope of the present invention. The teaching and principles of the present invention are applicable to stringed musical instruments as described herein and also to other instruments not explicitly mentioned herein as equivalent in which a vibrating sting is used to produce a sound and that use identical or similar/equivalent parts.

Reference numbers:

l peg

2 peg-box

3 upper string anchor point

4 upper saddle

5 fingerboard

6 string

7 resonance table

8 bridge

9 sound post

10 bass bar

11 lower string anchor point

12 tailpiece

13 lower saddle

14 tail gut anchor point in tailpiece

15 tail gut

16 lower peg

17 back of the instrument

18 bass foot of the bridge

19 soprano foot of the bridge

20 peg shaft

21 friction zone between peg shaft and peg box

22 fingerboard surface

23 reinforcement fibres

24 fingerboard base

25 string elongation due to vibration in a simplified shape of a vibrating string

26 neck

27 frets

Claims

I. A stringed musical instrument, such as a violin or a guitar, comprising at least one string and with improvements to parts of said instrument at least to compensate a string elongation due to vibration of said string when said instrument is being played, wherein said instrument comprises at least a fingerboard (5) comprising a surface (22) and said fingerboard surface (22) comprises a coating of a material or a mix of materials for presenting a well-defined string fixation on said surface when said instrument is being played.

2. The instrument of claim 1, wherein said coating material comprises a grip material or an anti-slip material or a damping material.

3. The instrument of claim 1, wherein the mix of material is present at different three dimensional levels and are symmetric or asymmetric.

4. The instrument of the preceding claims, wherein the material is present in different layers fixed together.

5. The instrument of one of the preceding claims, wherein the fingerboard comprises reinforcing fibers.

6. The instrument of any of the preceding claims, wherein the fingerboard surface is fixed on the fingerboard or a fingerboard base.

7. The instrument of one of the preceding claims, wherein the fingerboard surface comprises detectable hardware and/or software references.

8. The instrument of the preceding claim, wherein the software references comprise sensors and/or lights.

9. The instrument of one of the preceding claim 7 or 8, wherein the detectable hardware references comprise elasticity or density changes in the fingerboard surface.

10. The instrument of one of the preceding claims, wherein said instrument comprises a tailpiece (12) and said tailpiece is made of an assembly of longitudinal layers having a variable resistance to elongation.

II. The instrument of the preceding claim, wherein the tailpiece is made of different veneer layers forming the longitudinal layers.

12. The instrument of the preceding claims 10 or 11, wherein the tailpiece comprises insertions of different materials.

13. The instrument of one of the preceding claims 10 to 12, wherein the tailpiece comprises string anchor points, at least one of said points having different physical properties than a neighboring anchor point.

14. The instrument of one of the preceding claims, wherein it comprises an upper saddle (4), wherein said upper saddle is made of a composite structure, said composite structure being formed by assembled multilayer and/or elastomer blocks and/or coatings.

15. The instrument of one of the preceding claims, wherein it further comprises a peg (1) for each string, wherein said peg comprises a shaft made of a composite architecture, said architecture comprising a torsion resistant core partially covered by an elastic material at least in the section where the string is spun around the peg shaft.

16. The instrument of one of the preceding claims, wherein the string or strings present different physical properties in their vibrating part and in the parts beyond said vibrating part.

17. The instrument as defined in the preceding claims, wherein a spring-like system is provided on one or both string parts beyond the string's vibrating zone.

18. The instrument as defined in the preceding claims, wherein a damping of said springlike system is provided.