This invention relates to an electric guitar and bass pickup systems.
Electrified instruments, commonly guitar, bass guitar and some acoustic guitars for concerts, use electromagnetic transducers, including a coil and a magnet, to send vibration signals to an amplification system, such as a guitar amplifier or public access system (PA system).
“Pickup” is the vernacular term for the transducers on stringed instruments like guitars and basses. These transducers are comprised of magnet(s) and bobbin(s) structure that create a transformer capable of converting the vibrations of the metal strings to electric signals that are then modified by the guitars volume and tone control and then turned to sound waves using amplifier and speaker electronics and transducers.
As guitars became more and more popular in the 1950's and beyond, manufacturers have modified and optimized designs of the pickups to create a variety of styles, output levels, efficiencies, and even aesthetic treatments. Manufacturers have created a variety of recognizable styles of pickups to meet customer demands, for example, “single coil,” “humbucker,” “P90,” “mini-humbucker,” “lipstick,” and “goldfoil.” These names represent landmark design styles that multiple manufacturers create pickups for, to meet demand in the market, alongside less well-known categories or coming up with their own novel new approaches. As instrument manufacturers improved their construction methods and new materials became available, manufacturers created different output characteristics of pickups, thus creating a variety of possibilities of electronic response characteristics from the same style of pickup. Likewise, the aesthetic of these styles created a look that a particular musician might like, for example “chrome cover,” “gold cover,” “blackout,” and “zebra,” are popular color styles. There are many color options as well, from antique white to chartreuse green and every imaginable color combination. The variety of electronic designs, aesthetic designs and color combinations make the pickup world nearly unlimited in options for consumers.
The variety of styles of instruments is equally diverse. Different body shapes and types of wood used to create the instrument can greatly affect the vibration of the strings. A soft wood dampens the vibration of the instrument more rapidly. A hard wood allows strings to resonate longer. An instrument's shape also effects the vibration of the strings; each shape has different resonant characteristics. The method the pickups are mounted to the guitar also effects the responsiveness of the system, and its ability to transduce the instrument's vibrations. Mounting the pickup directly to the wood/body, or to a pick guard, or to a small mounting ring, effects the resonance and sensitivity of the system comprised of the strings, wood and pickups, and thus it impacts the sound produced by the instrument when amplified. Because of this characteristic of instruments with pickups, when a musician plays a variety of music, they tend to own multiple instruments for different sounds related to different styles of music. Much like a trumpet and trombone sound different, a Telecaster style electric guitar and a Les Paul style guitar sound different due to the pickup design, the shape of the guitar, the wood used, the mounting method of the pickups and many other details. Summarily, the entire system is interacting with all components in the system to create a unique sound for each instrument.
In some instances, the pickups that come with a guitar when purchased are not ideal for the style of music that the owner wants. Therefore, it is very common for musicians to remove the original pickups and replace them with a different pickup. Sometimes, pickups are changed simply for aesthetic reasons. In either case, or both cases, standard pickup installations are created by permanently connecting to the guitar's controls (volume, tone and output jack) via solder and wiring. This wiring is hidden and protected inside the instrument's body via plastic covers and/or through holes drilled in the wood. As such, changing the pickup(s) is a lengthy project that often requires the skills of an experienced technician with excellent soldering skills and a good understanding of electronics. Accordingly, there have been many ideas on how to improve this system to make it more user friendly, faster, and require minimal to no knowledge of electronics.
Vintage instruments are often coveted for the vibration response of the aged wood. It is generally accepted that the older wood gets, the more pleasant the sound, and the more valuable the instrument. It is not unusual to read about vintage guitars selling today for $20,000 to $200,000+ though they originally sold for $250 in 1950's. The increased value is due to the sound or “tone” of the instrument improved with time/age. Most wooden instruments, like a Stradivarius violin, get better with age, so modifying the original wood is never desirable, thus modifying the instrument's wood, even a slight amount causes, it to devalue significantly. Thus, cutting the wood or modifying a vintage instrument to make pickup swapping easier would render such a system as an unusable solution by nearly all musicians, and would most certainly significantly degrade the resale value of an existing instrument of any vintage.
Microphonic feedback is created by high SPL (Sound Pressure Level) playing environments, like a small rehearsal room, a live performance at a club, a large arena, and sometimes at home when conditions allow for turning up amplifiers to high SPL levels for recording or practice. Microphonic feedback occurs when sound pressure levels are high enough to induce additional vibrations, not from the strings, to the instrument and its components. When pickup components move in reaction to the high SPL levels common with contemporary music, they can begin to resonate and can cause a high-pitched squeal, or low rumble, that is uncontrollable and undesirable. Often microphonic feedback is not harmonic in nature, meaning it is not musically desirable or useful. However, “Instrument feedback,” feedback cause by vibrating wood and strings, is harmonic in nature and can be a musically desirable effect for some styles of music.
A loose mechanical connection design and construction is not desirable for many modern styles of music where high SPL levels, and/or variety of stage and rehearsal environments are likely. Lastly, should the musician push hard enough on the pickup itself, it is possible to bend the plug and jack assembly rendering the pickup stuck in the guitar, making the ability to swap a pickup quickly and without tools impossible.
With the above background in mind, it is among the primary objectives of the present invention to provide an improved approach for replaceable pickup system for instruments without the services of a professional musical instrument repairman. It is another objective to allow for the changing of any pickup without the need to take the instrument apart to change the pickups. It is another objective to create a replaceable pickup system that is installed into the instrument with no modification to the body, wood or to any component of the instrument that impacts the resonance of the instrument. It is another objective to create a system that allows for existing, instrument shapes to be used, requiring no body shape design, or redesign, to accommodate the system. It is another objective to create a system that has no microphonic feedback at high Sound Pressure Levels (SPL) as required by modern styles of music and venues. It is another objective to work perfectly over a variety of environmental conditions and changes in conditions. It is also an objective of the system to prevent installation errors of the pickup, such as upside-down installation or installing a “passive” pickup in an “active” electronics system by using a “key” feature in the docking system.
These objectives are accomplished by having a detachable “pickup” for instruments that can mount to existing features in the instrument, requiring no modification to the instrument. A “pickup” is a group of components that can be mounted to an instrument in order to generate an electric signal from the vibrating string(s) for amplification. The invention has two main novel components, namely the bobbin mounting plate and the body mounting plate. The bobbin mounting plate is designed to hold the pickup “bobbin,” which is sometimes called the “magnet and coil” or “transducer.” It is designed to manage both a mechanical connection to the instrument and the electrical contacts with the base plate. The term bobbin describes the assembly of magnets, magnet holders, coil or plurality of coils and any other components that are used in a pickup design to capture the vibrations of the strings and convert them to electric signals. The body base plate connects to the instrument. The body mounting plate may attach to a pick guard, a pickup ring, directly to the wood, or via any number of commonly used systems for attaching existing pickups to instruments. The system uses the body mounting plate to attach to the instrument's pickup mounting features and then connect to the instruments electronics components such as a volume control potentiometer, a tone control, a grounding wire, a preamp system, or other commonly found electronics inside an instrument. The base plate's electronic contacts may connect via one or more methods such as, soldered, a set screw, a press fit clamp, or via any number and combination of electronics fastening methods commonly known to those familiar with the art. The bobbin mounting plate holds the base plate is designed to receive the pickup bobbin mounting plate and mechanically attach it to the guitar while making all necessary electronic contact with the bobbin mounting plate's electrical contacts.
The described structure which connects the bobbin, or bobbins, to the instrument for turning the string vibrations into electric signals, may come in a plurality of shapes, sizes and electrical contacts to accommodate a plurality of pickup styles, electronics and sizes.
The features of the present invention which are believed to be novel are set forth in this application and in particular, in the appended claims. Other objectives and many of the features of this invention will be more readily appreciated and understood by reference to the following detailed descriptions and diagrams.
Other features and advantages of the invention are apparent from the following description, and from the claims.
Section of the Description
The present invention is a detachable electronic instrument pickup system, made for high SPL playing as well as a plurality of environmental conditions common with today's live performances and for ease of use.
In
It is possible for the system to have a plurality of wires and contacts to accommodate any number of coils used to convert the string vibrations to electric signals and any number of wiring options for the body of the guitar,
U.S. Pat. No. 4,854,210 teaches that a double coil mounting plate can accommodate a single coil pickup assembly. Likewise, the invention can accommodate a plurality of coil shapes, counts and assembly styles to those knowledgeable in the art.
It is to be understood that the foregoing description is intended to illustrate and not to limit the scope of the invention, which is defined by the scope of the appended claims. Other embodiments are within the scope of the following claims.
This application claims priority to U.S. Application Ser. No. 62/880,884, filed on Jul. 31, 2019, incorporated herein by reference.
Number | Date | Country | |
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62880884 | Jul 2019 | US |