Patent Application
20070199433
1. Introduction
This invention relates to stringed musical instruments. A combination of two or more instruments favored by the player resulting in rapid change of instruments while playing, reduced storage volume and lower cost. Many musicians branch out as they gain expertise with one instrument and desire to play other instruments. Many musical accompaniments use different stringed instruments played at different times. When the performer is a singer playing an instrument allows the singer to set the tempo of the music which is more discernable on a plucked instrument such as a mandolin. The violin gives the performer a separate instrument to play during instrumental breaks in the lyrics. The preferred embodiment of this invention is of a commercially available violin with added fixtures that transform the back of the violin body into a mandolin. The invention further includes a hook/holster generally hung from the player's belt line to hold the violin bow when it is not needed.
2. Prior Art
Combinations of stringed musical instruments are very old in the art. U.S. Pat. No. 832,157 issued to Platis in 1906 teaches a mandolin arm bolted to the face of a guitar. The body of a guitar is several times the volume of a standard mandolin, the quality of the connection to the guitar body, the position on the sounding body and other factors affect the quality of sound produced. The overall size of the instrument affects the player's ability to manipulate it as a mandolin.
U.S. Pat. No. 1,554,806 issued to Furia in 1925 describes a banjo with an additional neck extending from its back at an acute angle to the banjo neck with other necessary fixtures to create a mandolin on that surface. The banjo relies on a drum like head on which the bridge rests to define and amplify its sound. The resonance from that combination would differ from a hollow wooden body. The neck positions would also restrict quick manipulation from one instrument to the other and involve an awkward case.
U.S. Pat. No. 3,130,625 issued to Savona in 1964 describes a modular electric guitar that accepts more than one instrument in the form of detachable arms. That patent cites it usefulness as applied to instruments that are also equipped with electrical pickups. Savona also cites the body being acoustical however the sound quality would be affected by the position of the instrument arm and the quality of the attachment.
U.S. Pat. No. 3,636,809 issued to Ezaki in 1972 describes a two neck acoustic guitar. The necks support each other for a thinner structure but would interfere with reaching over the topside to cord with the thumb. That design does not include accommodating a string path in the head that cross for each instrument to allow a narrow neck near the head.
Other variations exist that address different feature: U.S. Pat. No. 4,953,434 dual chambers rotatable with opposing necks; U.S. Pat. No. 4,981,063 four sided electric guitar arm; U.S. Pat. No. 4,987,815 electric guitar mounted on acoustic body; U.S. Pat. No. 5,212,329 detachable electric guitar mounted on saddle of acoustic body; U.S. Pat. No. 5,571,980 floor mounted support for dual instrument; U.S. Pat. No. 6,649,818 U shaped solid body electric guitar and many other variations. Each of these has attributes and limitations but do not fulfill the usefulness of the present invention.
This invention preferred embodiment is a violin modified with added fixtures on its back to create a mandolin side. The general configuration and size of these two instruments complement into a single instrument. If the player desires, a sharper tone is created by modifying a mandolin with fixtures to a violin on the back side. The traditional curvilinear body of each instrument naturally lends itself toward the neck thicknesses merging at about the head. This results in a neck that the average player can comfortably reach around to cord either instrument. The hand position would also naturally mute the strings of the instrument not being played. The invention further includes a hook/holster generally hung from the player's belt line to hold the violin bow when it is not needed.
The preferred embodiment of this invention has been portrayed in the description and drawings and is not intended as a limitation on other adaptations of this invention. Those skilled in the art can envision various adaptations of this invention to accommodate other conductor terminations both temporary and permanent which would benefit from the use of this invention.
