Patent Grant
9847076
In a stringed musical instrument, such as a guitar, the strings, placed under tension, extend unsupported between a first critical point usually formed by the nut positioned where the neck joins the head and a second critical point usually formed by a clearly defined point on the bridge positioned on the body. The strings are secured or fixed at one end on the body of the instrument to what is traditionally known as the tailpiece, strung over the bridge and extended past the nut at the transition from the neck instrument to the head, and, for conventional instruments, secured at the other end to the tuning pegs where a string is tensioned and adjusted to a tuned pitched condition, tensioned for play, or, simply, tuned condition; sometimes a nut arrangement is provided for a headless or tuning peg-less design. The neck further comprises a fingerboard or fret board that a player presses the strings against to play various pitches up and down the neck; the fingerboard typically is formed with a convex radius that commonly varies between 9″ and 16″.
The second critical point can be created as a part of a bridge or combined bridge and tailpiece structure. Traditionally, the size of the bridge element is quite small so as to create a clearly defined single point of contact between the string and the bridge element. It is between these two points that the playable string length is typically determined, sometimes referred to as the scale length or harmonic length. Adjusting the relative distance between the first and second critical points is called harmonic tuning or setting the intonation. Some bridges structures are individually adjustable, that is for each string, relative to the nut for achieving a more precise harmonic tuning. Usually this adjustment of the second critical point for harmonic tuning is carried out first and then the strings of the instrument are tuned to playing pitch. Often referred to the “initial setup”, it is not uncommon that further adjustment of the harmonic tuning is necessary for a variety of reasons, for example, including changing the brand of a string where the alloy of the strings is varied or when the gauge of strings the player chooses changes as well as “setting” the string by manually pulling on the string along the scale length in order to improve elasticity in the string at first tensioning before the string can confidently relied on to hold proper playing pitch during the life of the string.
Often the typical construction of the strings, particularly for guitar and bass, includes a plain end and, on the other end, a “ball end” which being a washer-like addition is wrapped by the string itself into a larger form to enable “fixing” or securing the string on the instrument to the tailpiece element; alternatives to the “ball end” include as known to those of ordinary skill in the art as “bullet ends” formed from metal and molded around the end of the string. The tailpiece is usually provides for an opening or recess sufficient in size to receive the strings of various diameters ranging from 0.007″ to 0.070″ or more while being smaller than the diameter of the ball end so as to limit the passing of the ball end through the opening or recess in order to secure or mount each of the individual strings to the body. The wrapping usually extends up to a ½″ towards the plain end and as such the position of the tailpiece structure relative to the bridge element must insure that the wrapping does not extend over the second critical point when arranged on the instrument; this wrapping, under normal circumstances, is not subject to stretch compared to the rest of the string. In the relevant art, “anchoring” strings is often referred to as attaching or securing a string and understood with the limitation that the anchoring is sufficient so that the string is fixedly attached or secured to the instrument under the typical tensioned conditions of the string that typically range from 16 to 20 lbs or greater. Stable fine adjustments of these and other elements have been a longstanding problem for stringed musical instruments.
Additionally, the popularity of guitars and other multi-stringed instruments having more than the typical 6 strings and/or using longer scale lengths, etc. are capable of a greater pitch range which creates the need for strings of a larger diameter. One solution is to utilize “taper core strings” that have one or two less layers of wrap near the “ball end” of the string to go over the bridge elements. Further, a “taper wound” string simply tapers away these layers of wrap as near the ball-end of the string, so the part that goes over the bridge has a smaller diameter. “Exposed core” strings taper down to the core itself, so the core goes over the bridge and lowers the action and increases sustain/resonance. These designs are often seen on B strings, typically a low string on a five string bass, for example. The logic is that a taper core string, etc. approach will help with intonating a larger diameter string. In some of these cases the strings are mounted to tailpiece portion by inserting the string through or over the bridge elements to avoid complications due to increased string diameter. The larger diameters can be problematic given the dimensions of vintage systems.
Playing pitch or proper playing pitch or pitched string condition is generally understood by one of ordinary skill in the art to be the proper pitch of a guitar string relative to the remaining guitar strings when a guitar is played “in tune.” For example, in a standard tuning arrangement, for a six string guitar, based on the standard A=440 Hz, the playing pitch of the 1st string (highest) is tuned to note E (329.63 Hz), the playing pitch of the 2nd string is tuned to note B (294.94 Hz), the playing pitch of the 3rd string is tuned to note G (196.00 Hz), the playing pitch of the 4th string is tuned to note d (146.83 Hz), the playing pitch of the 5th string is tuned to note A (110 Hz), and the playing pitch of the 6th string is tuned to note E (82.41 Hz).
In the Proelsdorfer U.S. Pat. No. 2,304,597, string tensioning devices placed on the tailpiece for fine tuning the pitch of the strings of violins, guitars and the like, were disclosed; such pitch adjustment is quite limited in range, comprising generally an interval falling between that of a whole tone and a major third at best, and designed to offer the tuning of the strings a minor adjustment of pitch after the general tuning is achieved with the tuning pegs on the head of the instrument which traditionally first provides for raising and adjusting the tension of the strings to pitch from an untensioned condition and then setting the string. This is regarded as fine tuning and the apparatus for doing so, the “fine tuners”, usually comprise an adjustment knob or thumb screw.
It is known to those skilled in stringed musical instrument design and construction that various tremolos have been proposed and utilized for varying the tension of all the strings simultaneously for the purpose of creating a tremolo sound. Further, it is known to those skilled in the art that there are a great many commonly used names for such devices, such as tremolo, tremolo device, tremolo tailpiece, tremolo bridge, fulcrum tremolo, fulcrum tremolo bridge, fulcrum tremolo tailpiece, fulcrum tremolo bridge-tailpiece, vibrato, vibrato bridge, vibrato tailpiece, vibrato bridge tailpiece, etc.
In one specific species, known as the fulcrum tremolo, first introduced in Fender U.S. Pat. No. 2,741,146 (“Fender '146”) shows and provides a device comprising a novel structure, which incorporates the bridge and the tailpiece. The portion supporting the bridge elements is called the bridge plate or the base plate. Further, both the bridge and the tailpiece elements connected to the base plate both move together as the fulcrum tremolo device is pivoted. Typically, in order to facilitate the fulcrum tremolo pivoting about its fulcrum axis, counter springs, as a biasing element, are utilized to counteract or counter balance the pull of the strings. Accordingly, a singular and defining aspect of the fulcrum tremolo is that the harmonic tuning is upset as the device is pivoted; and, accordingly, for an instrument equipped with a fulcrum tremolo, it is unique in that only restoring all of the strings to a proper pitched condition also simultaneously restores the harmonic tuning for all the strings. The base plate upon which the individual bridge elements are adjustably secured has a beveled ridge portion which is secured to the instrument body by six screws permitting pivotal movement about a fulcrum axis which varies the tension on the strings and produces the desired “tremolo effect”; in general, this device allowed for extensive dropping down of the pitch of all the strings and a modest upward capacity that further enabled the familiar mild pedal steel or Hawaiian guitar vibrato effect provided in gentle pivoting.
In this first vintage fulcrum tremolo, herein referred to as Type I, the metal bridge elements of Fender '146 are loosely held in place by a spring loaded attachment screw arrangement pivotally secured through openings in a small folded portion of the base plate farthest from the fulcrum axis. The bridge elements also incorporate set screws for varying the relative height of the bridge elements and, therefore, height of the respective second critical points relative to the base plate and by extension, to the body and neck.
The fulcrum tremolo is generally defined to have a base plate pivotally mounted to the body of the instrument and an “inertia block” or “tone block” or “spring block” that extends transverse the direction of the strings 90° to the base plate. The instrument body is fashioned to include a single body cavity comprising two distinctive sections. There is 1) an approximate 3.00″×1.00″, generally rectangular, transverse the direction of the strings, traditional “tremolo pocket” or “trem pocket” extending generally perpendicular from the top surface of the body to meet at 90° providing two approximate 3.00″ wide opposing faces, a first face closer the nut and a second face further the nut; and 2) the traditional, generally rectangular, approximate 4.00″×2.25″×0.775″ deep, cutout extending in the direction of the strings in the back of the instrument body, a “spring pocket”, to receive the spring arrangement. The spring block has a first surface closet the nut and a second surface, each surface generally perpendicular to the top of the instrument and generally parallel to the tremolo pocket first and second face. Although there are differences in specifications from one instrument manufacturer to another for the various designs of the fulcrum tremolos that are available, there is approximately 0.125″ to 0.250″ clearance, between the spring block and the tremolo pocket face closest to the nut, to provide for upward pitch change as the spring block pivots towards the nut. Counter springs are usually connected to the body of the instrument at one end and, on the other end, to a separate spring attachment means transverse the base plate, usually a block of metal, milled or cast or a combination of the two, which being secured to the bottom of the base plate by three screws 90 degrees to the base plate, is often called a spring block or inertia block.
The typical spring arrangement includes, in addition to the biasing springs connected to the spring block, a “spring claw” to receive the other end of the biasing element secured by two wood screws to adjust the position of the spring claw relative to the body for a simple but cumbersome adjustment method. There is ample room for the spring block to pivot freely within the “tremolo pocket” cavity during use.
One of the most troublesome problems with prior art for the fulcrum tremolo has been maintaining the “initial position” achieved at “initial setup” when all the strings are brought to proper playing pitch as the harmonic tuning is achieved. When a musician plays on the string there is usually some kind of string stretch over time that results in the overall tuning, and thereby, the “initial position” going out of balance. Specifically, when the pitch of the string changes, the position of the fulcrum tremolo and the position of the second critical point relative to the nut changes which then instantly alters the harmonic tuning. This is especially problematic if a string breaks with this type of tremolo; since the missing force otherwise created by the tension of the broken string allows the entire tremolo to be subject to the known “backward tilt”, all the remaining strings are un-manageably sharp in pitch and the harmonic relationship to the fret placement and scale length is distorted, generally, to an undesirable degree. Furthermore, when the tremolo base plate tilts forward, the spring block tilts away from the nut; and when the tremolo base plate tilts rearward, the spring block tilts towards the nut.
This singular characteristic adds complexities in obtaining the primary goal of achieving a stable equilibrium, initial position, between the force of the tension provided by the use of two to five biasing or counter springs (connecting between the tremolo and the body) in relation to the force of tension of all the strings (connected to the fulcrum tremolo and the end of the neck at the peg head by the tuning pegs or an optional nut arrangement that secures the strings without tuning pegs, etc.)
Accordingly, these and other inherences need to be addressed in achieving a true and lasting initial position for the fulcrum tremolo and has been the object of many inventions. In this inherent inter-dependant system of tensioning forces, contrary to the requirements of other tremolo or fixed bridge arrangements, (in the ideal instance where the essential conditions of the initial setup have been established and the appropriate tensioning force of the springs provisioned), the precise tensioning to proper playing pitch for any less than the total number of strings will inherently fail to achieve pitch and harmonic tuning for all of those strings attached to the tremolo.
Often the pivot is subject to wear and the tremolo does not always return to its initial position. Great care is required to establish the initial position, since both aspects of adjustment are interactive for “floating tremolo setups”, and since it simultaneously provides both the proper harmonic tuning and proper pitch tuning for each of the individual strings in order to enable a lasting “initial setup”.
Therefore, for stringed musical instruments, as is known to those skilled in the art:
For fulcrum tremolos as originated by Fender U.S. Pat. No. 2,741,146, when pivoted:
For those fulcrum tremolos equipped with fine tuners as with Rose U.S. Pat. No. 4,497,236, Storey U.S. Pat. No. 4,472,750 and Fender U.S. Pat. No. 4,724,737:
Rose (U.S. Pat. No. 4,171,661) shows adopting a novel shaped beveled edge to the base plate, called a “knife edge”, adjustably supported by two screw-like members, referred to generally as riser posts, positioned in the body to collectively improve the return to initial position after pivoting the fulcrum tremolo device. The knife edge fulcrum pivot arrangement provides for the base plate to be positioned generally parallel to the instrument body, often referred to as a “floating tremolo”, for example, and offered the novel possibility to substantively increase the tension of the string for upward pitch changes by rocking the base plate “rearward towards the body” with the arm. The inclusion of iterations of Fender '146, herein referred to as Type I, to include, similar to Rose, a knife-edge design on the leading edge, closest to the nut, of the base plate with a riser post arrangement adjustably connected to the fulcrum tremolo, herein referred to as Type II.
These two vintage fulcrum tremolos of the last century, Fender in the 50's and Rose in the 70/80's, are in part distinguished by the differing standards for the placement of the riser posts, that receive each of the knife-edges to create a pivot axis, relative to both first critical point on the nut as well as the second critical point on the bridge element. Accordingly, there are differences in the body pocket but less so for the cutout that receives the biasing springs and the distance from the face of the spring block nearest the nut to the corresponding face of the tremolo pocket.
It is also known that many musicians, despite having the requisite hardware on their stringed instrument to enable a “floating tremolo” setup, intentionally choose to “block” or “stop” the fulcrum tremolo from being tilted “rearward” in order to remove the potential for an unwanted increase in pitch of the strings. This condition or setup is commonly referred to as a “blocked tremolo” or “stopped tremolo”—accordingly, the stop is considered a “hard” stop when it completely prevents pivoting the tremolo in one direction when at initial position. Additionally, as a significant part of this setup, increasing the overall tension of the biasing element past the minimum force required to make initial contact with a “hard” stop at initial position, is required to compensate for the increases in force in the tension string during bending notes, etc. meeting at least three objectives: 1) when a string breaks, the tremolo stop will ensure initial position, so that tremolo does not tip rearward and the rest of the strings do not go up in pitch, despite the missing counter balancing force of the un-tensioned or broken string, 2) ensuring the tremolo returns to initial position after radical use no matter what—to eliminate, among other things indigenous to the floating tremolo, the maintenance and care of initial position over time defined by the delicate balance of the forces and related wear and tear over time and 3) to make the tremolo less likely to be activated unintentionally compared to a floating tremolo, useful in general, for strumming, and makes double stops much more accessible when the force of the biasing element is increased. Tremolo stops of this nature have been created by small pieces of wood, plastic, etc. approximately 0.125″˜0.250 or so thick which have been placed in the tremolo pocket between the spring block and the face of the tremolo pocket closest to the nut—even in “emergency” situations, a stack of guitar picks taped to the inertia block's face closest to the nut, in sufficient dimensions, can used for an evening, if need be.
Further, stopping a floating tremolo is common to meet the demands of auxiliary tension adjustment mechanisms: U.S. Pat. No. 5,359,144 (“'144”) 10/94 to Robert Benson. Commercialized as the “D-tuna” mechanism for the “double-locking” Floyd Rose tremolos, the mechanism is designed to quickly re-tension the 6th string from standard “E” down a whole step to “D” for “drop-tunings”, i.e., instances where the pitch of at least one string is varied compared to standard tuning—the dynamics of the forces of tension between the strings and springs require, for optimal usage, a stopped tremolo:
In the Abstract:
Van Halen: (http://www.dtuna.com/faq.php):
Accordingly, it is recommended by Van Halen that the “D-Tuna” device of '144 works better with an additional element or mechanism that will provide a “hard” stop the tremolo when the 6th string is tuned to “D”, the lower of the two target pitches; and, in order to ensure initial position of the fulcrum tremolo at the higher target pitch, since a hard stop requires increasing the overall force of the biasing element sufficient to compensate for the small increase in force, which unaddressed would yield a forward tilt otherwise present at the higher-tensioned “E” target pitch.
One disadvantage, for some players, is that a “hard” stop eliminates the original capacity for light tremolo wavering effects around initial position and upward pitch bends. Accordingly, many players today would prefer a setup that acts like a fixed bridge for small force changes like bending strings, strumming at initial position yet “gives” and acts like a floating tremolo for using the tremolo arm for larger modern, pitch changes, such as “dive bombs”, as is distinguished as a “soft” stop or tremolo stabilizer. As is known, the biasing element or spring system, provides a continuous generally linear force curve to establish equilibrium at initial position, but is not capable of changing its rate of tension, in general, stretching gradually and gradually as more force is applied.
Various mechanisms have been presented to assist the traditional biasing springs of Fender '146 in view of modern demands, such as the Hipshot branded “Tremsetter”, Borisoff et al, U.S. Pat. No. 4,928,564 (“'564”). The Tremsetter device secured directly to the body's spring pocket, provides an adjustable pre-tensioned compression spring element added to complement the traditional biasing element to provide a discontinuous force curve exerted on the tremolo in order to provide an adjustable “soft” stop or tremolo stabilizer—the spring arrangement operable to increase the force required to pivot the fulcrum tremolo from initial position; its operability primarily to more firmly maintain the initial position of the floating tremolo compared to usage with an unassisted biasing element. Accordingly, when a force is exerted to move the tremolo out of initial position, that same tremolo is subject to a restoring force that is being borne by the stabilizing device limited enough in its range so that the compression spring element is active until the pre-tensioned restoring force is overcome during operation of the tremolo.
The Hipshot device and multi-spring variations like it, the Ibanez BackStop, the WD Tremolo Stabilizer, the ESP Arming Adjuster, the Goeldo BackBox, not all of which are available in the US at this time, none-the-less all comprise a compression spring-like arrangement deployed to complement the traditional biasing element, each secured to the tremolo spring pocket, tensioned upon installation to an approximate force of 8˜10 pounds, capable of making variable contact with the spring block and urging the spring block in a direction away from the nut—these devices do not pivot with the tremolo about its axis—it requires approximately 4 pounds of force to “bend” a typical electric guitar unwound string a whole tone up in pitch under typical situations, 8 pounds or so of force will reinforce or ensure initial position under the conditions where two strings are bent.
Each such device employs a tensioned compression spring that seeks to stabilize initial position with an adjustable “soft” stop, to avoid the limitations of a ‘hard” stop and to offer more stability in the instance of double stops which are otherwise more difficult:
Numerous other complementary mechanisms are secured to the tremolo spring pocket to enforce the position of the spring block such as Hirayama U.S. Pat. Nos. 6,552,252 and 6,686,524 for Ibanez include auxiliary springs to enforce initial position. Geier U.S. Pat. No. 7,427,703 commercialized as the “Tremol-no” releasable tremolo stop is also secured to the tremolo spring pocket in the body:
Lavineway U.S. Pat. No. 7,189,900 is provides a tension bar connected to the body operable on the spring block to ensure initial position:
The Mag-Lok from Super-Vee Tremolos, secured to the spring pocket, US patent pending, is a magnet-based alternative to the compression spring arrangement to ensure the tremolo in initial position during double stop bends and the like that is overcome when the bar is used.
Smith U.S. Pat. No. 9,029,671 provides for a device secured to the “upper surface of the body” adjustably connected to the tremolo base plate operable to selectively stop a floating tremolo:
The Hipshot Tremsetter is also known to be installed with the D-tuna in order to improve the accuracy of the pre-determined target pitches for a floating tremolo. Dam's U.S. Pat. No. 7,053,287, also secured to the body's spring pocket, for a similar device secured to the spring pocket for creating a soft stop include:
Didan U.S. Pat. No. 6,943,284 September 2005 for a retractable tremolo stop mechanism comprising a retractable cam adjustably secured to the top body surface bracketed between the spring block and the base plate:
Rose U.S. Pat. No. 8,946,529, February 2013, apparatus includes a modification of his fulcrum tremolo for top mounted Gibson-style applications to include a re-enforcing element for initial position—this design obviates the traditional spring block that pivots within the body of the instrument and the biasing element arrangement:
As discussed above all of the various compression spring based mechanisms described above are secured to the body, in the spring pocket, in particular, and, accordingly, do not rotate with the tremolo at any time, to make variable unsecured contact with the spring block to apply an expanding force supplied by compression springs against the spring block in a direction way from the nut to augment the linear force applied by the biasing element pulling in the direction towards the nut. In each case the adjustment members are very small, often positioned between the individual springs of the biasing element and difficult to adjust initially and to compensate for changes over time.
The Global Tuner invention offers a quick way to adjust the dynamic relationship between tensioning forces between the strings and springs with a thumbwheel to maintain “initial position” over time. The typical Global Tuner splits the tremolo's inertia or spring block into two sections transverse the direction of the counter springs. One section is a base element or main block that is connected to the tremolo base plate and the other section comprises a holder element connected to the biasing element or counter springs, in a format that is connected to the main block and which is, in either case, adjusted by a thumbwheel arrangement. (See Advanced Global Tuner—U.S. patent application Ser. No. 14/687,776 Apr. 28, 2015). Since acoustic coupling is best in the instance of the greatest contact between the associated parts, when the spring holder element is slideably positioned within, say, 0.031″ of the base element, a first position, when the assembled parts have the greatest contact area to each other. Threading the thumbwheel to variably position the holder element in either direction will restore initial position under normal conditions while maintaining the best coupling for this design.
The Global Tuner provides a variable adjustment mechanism invention that neither meets the requirements to achieve a stopped initial position nor a “soft” stopped initial position—the need for a stable and adjustable tremolo stop tuner is clear.
Tremolo Spring includes a formed flat spring element featuring a flexible bend operable to exert a first variable force of tension against the body, the flexible bend transverse the direction of the strings and generally parallel to the tremolo axis, the first variable force of tension essentially equal to the force of tension provided by the strings to establish the fulcrum tremolo at initial position.
The formed flat spring element having generally planar surfaces forming opposing faces, further including a first upper leg secured to the tremolo and a first lower leg forming a generally longer lever-like portion, generally 1.125˜1.75″ in length, approximately 2.0″ wide extending towards the body. The strings tensioned for play, at least a portion of a first face of the longer lever-like lower leg operable to make first variable contact with the body to achieve initial position and variably support the pivoting of tremolo.
The end of lower leg can further comprise a second bend forming a first face curved surface to facilitate first variable contact with the body or other such provision. In one embodiment, the profile of the formed flat spring element is generally an L-shape where the shorter leg is secured to the tremolo. In this application, the width, length and material thickness are all inter-related parameters. All things being equal, the variable force of tension created by the flexible bend depends greatly from how thick the material is, the formed flat spring is has a 1˜2 mm material thickness for establishing a first variable force of tension. A thinner strip of flat spring, say 0.25˜1 mm, can be used for the second variable force of tension, for example.
In another expression, the a combination spring comprising more than one formed flat spring element, taking a L-shaped form, with unequal lower leg lengths. In this instance a first flat spring element shorter length leaf (first lower leg) would comprise at least the major portion of the first variable force of tension and a second flat spring element longer thinner leaf (second lower leg) would comprise at least the second variable force of tension to provide for the first and second variable force of tension.
A novel Tremolo Spring Tuner offers an adjustment of the first flat spring first variable force of tension; the global adjustment of the first variable force of tension can be accomplished in at least one of two ways in this current application. In one instance, 1) a mechanism varies the position of end of lower leg in a first variable contact with the body, or other such mechanism, to vary the force of the flexible bend, for example, and 2) a variable connecting element, such as a setscrew, contacting the lower leg near the lower surface of the base plate, making an alternative or second variable contact, to limit the first variable force of the first flexible bend. In the later case, the first variable force of tension can be greater than string tension so that the adjustment element can reduce the force to meet the string tension to establish initial position.
For the first approach, Tremolo Spring Tuner including a base element secured to the instrument, a first adjustment screw, the first adjustment screw in the direction of the strings, the base element rotatably supporting the first adjustment screw, a spring tensioner element transverse the direction of the strings is operable to receive the end of the first adjustment screw, the string tensioner element variably secured to the base element, having a spring side surface generally parallel with the first face of the flat spring, the spring side surface further operable to make first variable contact with the outer first face planar surface of the curved second bend. The tensioner element is pivotally connected to the base element by a pin in a direction transverse to the direction of the strings. Threading the first adjustment screw variably adjusts the spring face surface, and thereby, the first face of the curved bend to vary the first flexible bend, to increase or decease the first variable force of tension to achieve initial position. The adjustment screw comprising a global tuner thumbwheel to facilitate adjusting the tensioner element.
Alternatively, Tremolo Spring Tuner further comprising a second curved flat spring operable to hold a second variable force of tension and a global tuner comprising a thumbwheel, the thumbwheel shaft further comprising a tensioner element forming a cylindrical cam-like portion operative to variably adjust an end of the second curved flat spring as the thumbwheel is turned, wherein the curved section of the second curved flat spring making second variable contact with the inner second face of the first flat spring closer the flexible bend than the end of the lower leg to limit the first variable force of tension; the tensioner element to variably adjust the first variable force of tension.
A simple Tremolo Spring Tuner is presented including the base element secured to the instrument, a set screw threadedly secured through the base element, the setscrew in the direction of the strings, the set screw operable to form a second limited contact area with a second face of the generally planar lever-like lower leg in a position generally closer to the base plate than the curved second bend. Threading the setscrew to further contact the lower leg is operable to limit at least a portion of the flexible bend to vary the variable force of tension.
The Stabilizer includes either a formed flat spring or a pre-loaded coil spring element comprising at least a portion of a flexible bend operable to hold a variable force of tension including a second force of tension, the second force of tension less than the tension provided by the strings, to enforce initial position. The Tremolo Stabilizer includes a thumbwheel arrangement to variably adjust the position of an independent stabilizer arrangement.
In one embodiment, the formed flat spring comprising at least one L-shaped flat spring, with a short upper leg connected to the spring block and/or the base plate and a longer lower leg extending to the body operable to exert the first variable force of tension at initial position. The Stabilizer Tuner arrangement provides a screw-like element that extends from a mounting arrangement in the body to make variable contact with the inner face of the L-shaped flat spring. Further, adjusting the spring claw screws in the spring pocket for adjusting the first variable force of tension will inter-cooperate with the variable force of tension that the flexible bend of L-shaped spring steel-like plate applied to the face of the tremolo pocket to reinforce initial position for strumming and light tremolo action.
Another embodiment of the tremolo stabilizer comprises a formed flat spring steel clip-like element secured to the extended portion of the spring holder arrangement to make initial contact with the tremolo pocket face at initial position, the form comprising a bend operable to hold a second variable force of tension. This arrangement reassigns the thumbwheel adjustment member of the Tremolo Stop Tuner to instead variably position the formed flat spring arrangement relative to the inner face of the tremolo pocket. The setscrew arrangement fixes the position of the thumbwheel and couple the device to the instrument. Alternately, say, a removable 2 mm thick foam rubber strip, or such with sufficient elasticity could be positioned on the extended portion operable to comprise a force sufficient to reinforce initial position for stabilized strumming, etc. A first embodiment of the Tremolo Stabilizer comprising primarily an adjustment member or, alternately, a thumbwheel, threadedly connected through the spring block of a fulcrum tremolo, and moveable therewith around the tremolo pivot axis, the adjustment member extending in the direction of the strings. The adjustment member, threadely or pivotally, adjustably connected to the spring block, the adjustment element operable to make initial contact with the tremolo pocket to limit pivoting in one direction from initial position. In another alternative embodiment, the adjustment member or a thumbwheel element includes a holder element, including an extended portion, separate from the spring block base element operable to be adjusted towards the tremolo pocket face and away from the base element to make initial contact. A set screw, threadedly positioned in the base element and in variable contact with the thumbwheel adjustment mechanism, is threaded in a first direction to fix the position of the extended portion at initial contact to form a stop to impede rotational movement in one direction at and from initial position.
Further the extended portion, and moveable therewith, can support a “soft” stop or tremolo stabilizer arrangement comprising, for example, compression spring arrangements including the use of flat spring plates in various shapes, sizes, etc. to complement the first variable force of tension at initial position.
As above threading the thumbwheel adjustment mechanism is operable to adjust the holder element comprising the flat spring stabilizer to vary the second force of tension.
In a preferred embodiment, an independently adjustable pre-loaded internal coil spring arrangement comprising a Tremolo Stabilizer is presented. The Tremolo Stabilizer comprising a cylindrical housing threadedly secured to the spring holder extended portion or alternatively to the main block. The most preferred arrangement having a housing, a washer and coil or wave spring at one end, a support collar or guide element variably positioned within the tensioner element and the formed openings in the extended portion, an adjustment pin or extension element threadely connected to the collar operable to variably extend the adjustment pin to the tremolo pocket. The adjustment pin comprises a rounded tip often and sometimes comprises a ball bearing element. The device includes the force of tension of the internal compression spring within the housing of the Tremolo Stabilizer to comprise an adjustable force of approximately 2˜15 pounds. A player can adjust the pre-loaded condition of the coil spring by rotating the housing. Accordingly, the apparatus comprises a limited discontinuous force operable to increase the force required to pivot the fulcrum tremolo rearwardly from initial position. Since the adjustment by the tensioner element of the force of the internal compression spring is independent of the adjustment of the forces of the biasing element, the thumbwheel is free to be operable to re-establish initial position on the fly without altering the integrity of the finely adjusted pre-tensioned forces of the spring arrangement.
In yet another embodiment the internal pre-loaded coil spring arrangement can be modified to provide the first variable force of tension in order to obviate the traditional tremolo springs and spring claw arrangement.
“Initial position” refers to the position of the fulcrum tremolo and, therefore, the position of the second critical point on the bridge elements in relation to the first critical point on the nut such that the tension of the strings, each at the intended proper pitched condition, the spring block, and the appropriately tensioned counter springs, renders a specific equilibrium point wherein the harmonic tuning for all the strings is simultaneously achieved.
“Global Tuner” refers to an adjustment device added to a fulcrum tremolo and its associated counter spring or biasing element arrangement with the capacity to essentially re-establish the equilibrium point, created at the time of the initial setup by the tension of the counter spring(s) and the tension of the strings, in order to compensate for changes in tension requirements on the strings and/or the counter springs due to various factors. The Global Tuner preferably employs an adjustment knob or thumbwheel element for providing continuously variable adjustment of the tension in the strings by varying the relative distance between the spring attachment portion connected to the fulcrum tremolo and the attachment point of the springs to the body of the instrument. The Global Tuner thumbwheel portion provides a simple and quick means for the musician to adjust the initial position of the fulcrum tremolo in order to meet the pitch requirements in varied environmental or other situations and, in re-establishing the initial position, allows the full range of pivoting the fulcrum tremolo.
“Initial contact” refers to instance of an adjustment when a tuning mechanism first touches the instrument body, the tuning mechanism operable to affect initial position in a fulcrum tremolo.
A “hard” stop provides initial contact operable to impede rotation of the fulcrum tremolo in one direction at initial position; the “over-tightening” of the biasing element requirement to reinforce initial position obviates a global tuner.
“Tremolo Stop Tuner” refers to device integrated into a fulcrum tremolo spring block, moveable therewith about the tremolo pivot axis, comprising a holder element comprising an extended portion operable to either variably contact the body with the capacity to stop or block the tremolo at initial position, adjustably support a compression spring element to enforce initial position or global tune an independent stabilizer arrangement enforcing initial position.
A “soft” stop provides initial contact operable to affect a limited discontinuous force curve exerted on the tremolo spring block to adjustably impede rotation of the fulcrum tremolo in one direction at initial position. The adjustability obviates a stop mechanism.
“Initial condition” refers to the instance of an adjustment of the force operable at initial contact to complement the force of the biasing element when at initial position for a “soft” stop.
A “Tremolo Stabilizer” refers to a formed spring element arrangement added to the fulcrum tremolo, to make initial contact with the body with sufficient force of tension to limit the essentially linear performance of the biasing element force of tension in order to enforce initial position. Accordingly, when a force is exerted to move the tremolo out of initial position, the tremolo is subject to a restoring variable second force of tension that is borne and defined by the pre-tension stored in the spring element until the restoring force is overcome during deeper rotation or pivoting of the tremolo or disengaged at or near initial position.
Given sufficient focus of the discontinuous force at initial position to impede rearward tilt, the soft stop arrangement can be combined with an auxiliary quick pitch change apparatus, like the D-tuna, the Drop Tuner—McCabe U.S. patent application Ser. No. 14/880,271 (“'271”) or any device with the capacity to quickly change from one adjustable predetermined pitch to another adjustable predetermined pitch and back to ensure the tremolo remains at initial position when the higher tensioned string is toggled to a lower tensioned condition.
In the drawings:
The body further comprising a Global Tuner thumbwheel arrangement with a thumbwheel is shown rotatably connected to a mounting element secured to the body, the mounting element comprising a spring tensioner element, the spring tensioner element variably secured to the mounting element by a pin, the spring contact element comprising a spring face surface operable to make variable contact with L-shaped flat spring lower leg. In the preferred embodiment the spring tensioner element further comprises a recess to receive the tip of the shaft of the thumbwheel to variably adjust the lower leg; accordingly the thumbwheel adjustment member threading adjusts the position of a L-shaped flat spring second end to vary the first force of tension.
Also shown is a locking macro-tuner mechanism comprising an articulated extended tip of extended laver-clamp improvement to facilitate threading a string through the nose slot to pivot or lift the clamp lever for successful loading of the string from a direction opposite or distinct from the traditional direction of operation carried out from the direction the tailpiece portion securing the string to the instrument.
In
Intonation module 12, shown as a macro-tuner, incorporating the function of bridge or saddle and tailpiece elements, is provided to support string 6. Intonation module 12 is slideably adjustable on base plate 13 to adjust the relative distance between first critical point 8 and second critical point 16 (
The invention is shown for on electric guitar 1 with six strings 6 and it should be understood that the invention could be used on a variety of stringed musical instruments. In body 3 of guitar 1 there are electric pickups shown without numbers. In the following description, fulcrum tremolo 10 will be described in greater detail.
Tremolo 10 comprising L-shaped flat spring upper leg 61, secured between base plate 13 and base element 21, L-shaped flat spring upper leg 61 further forming flexible bend 62 and a lower leg 63 comprising curved contact bend 64 operable to make variable contact with spring block 21 forming first contact area 65. Tremolo Spring 60, in a novel position within the traditional tremolo pocket arrangement, having a generally planar surface, approximately 90° to the direction of the strings, curved contact bend 64 operable to variably contact the generally planar parallel surface of inner tremolo cavity forming area 65, flexible bend 62 operable to exert the first variable force of tension against body 3 at initial position. In this depiction, second end extension 64 functioning as a variable fulcrum tremolo biasing element, curved contact bend 64 at contact area 65 exerting a first force of tension essentially equal to the string tension, thereby resisting the rotation of fulcrum tremolo 10 from initial position in one direction.
Tremolo Spring 60 further comprising a global tuner arrangement, in a further preferred embodiment, comprising mounting element 66 secured to body 3 as well as spring tensioner element 66a and thumbwheel 24, thumbwheel 24 comprising a global tuner thumbwheel. Mounting element 66 formed to rotatably support thumbwheel adjustment member 24, thumbwheel adjustment member 24 end 69 in bearing contact with spring tensioner element 66a recess 68, spring tensionerelement 66a variably secured to mounting element 66 by a pin 67, spring tensioner element 66a operable to make variable contact with L-shaped flat spring second end extension 63 curved contact bend 64 comprising contact area 65. In the preferred embodiment, threading thumbwheel adjustment member 24 to variably position spring tensioner element 66a and, thereby, second end extension 63, adjusts the variable first force of tension provided by flexible bend 62.
Also shown is a locking macro-tuner mechanism 12 comprising an articulated extended tip of extended laver-clamp tailpiece improvement 15 to facilitate threading string 6 through the nose slot to clamp string 6 as an alternative to tailpiece tuner knob 14, from a direction opposite or distinct from the traditional direction of operation carried out from the direction the tailpiece portion securing string 6 to body 3.
Two stabilizer mechanism 50, holding a second variable force of tension collectively, at least 8˜10 pounds force, the second force of tension less than the first force of tension, fine adjustment element 55 positioned to make initial contact with tremolo pocket contact area 29, tremolo 10 at initial position. Tremolo Stabilizer 50 pre-loaded coil spring 53 biasing element 19 first variable force of tension to increase the force required to pivot fulcrum tremolo 10 from initial position in rearwardly.
The twin adjustable Tremolo Stabilizer 50 (one only is shown in profile) adapts spring holder 22 extended portion 23 to receive tensioner housing 51 further comprising guide element 52, washer 54 and fine adjustment element 55, extending through pre-loaded coil spring 53 within cooperating cavity 56 and cooperating spring block 21 cavity 57. Pre-loaded coil spring 55 operable to exert a second variable force of tension. Two stabilizer mechanism 50, holding a second variable force of tension collectively, at least 8˜10 pounds force, the second force of tension less than the first force of tension, fine adjustment element 55 positioned to make initial contact with tremolo pocket contact area 29, tremolo 10 at initial position as shown. Tremolo Stabilizer 50 pre-loaded coil spring 53 biasing element 19 first variable force of tension to increase the force required to pivot fulcrum tremolo 10 from initial position rearwardly. Threading fine adjustment element 55 is operable to establish initial contact at initial position. Threading the tensioner housing is operable to adjust the pre-load of the coil spring element. Threading the thumbwheel 24 is operable adjust the position of spring holder 22 and, thereby, the biasing element force of tension and the second variable force of tension simultaneously.
Flat spring steel 60 flexible bend operable to hold a second variable force of tension, at least 8˜10 pounds force, the second force of tension less than the first force of tension. Threading setscrew 51 is operable to make contact with upper leg 62 to limit the second variable force of tension. The tremolo at initial position, any tendency for sharpened pitches, including by pivoting tremolo 10 rearwardly, activates stabilizer mechanism 50 with its limited capacity to deflect spring block 53 in a direction away from nut (not shown). The flat spring Tremolo Stabilizer complements first variable force of tension of biasing element 19 to increase the force required to pivot fulcrum tremolo 10 rearwardly from initial position.
Stop Tuner 20 arrangement comprising traditional spring block 21 further comprising, and moveable therewith, adjustment element 31 and set screw 25, adjustment element 34 and set screw 25 threadedly engaged with spring block 21. Adjustment element 34 comprising threaded portion 31 as shown to make initial contact with tremolo pocket contact area 29 at initial position to “stop” tremolo 10; setscrew 25 secures the position of adjustment element 34 and improves coupling between the three parts. The position of adjustment element 31 can be used to limit the range of backward pivoting for pre-determined upward pulls on the tremolo.
Further, a novel compound L-shaped flat spring biasing element formed by a first upper leg 81, first flexible bend 82, lower leg 83 and curved surfaced end 84, a second upper leg 61, second flexible bend 62, second lower leg 63 of unequal lengths like half of a “leaf spring” cut in the middle. Thicker first lower leg 63 comprising at least the major portion of the first variable force of tension and the longer thinner leaf 83 would complete the first variable force of tension requirement and provide for the second variable force of tension. Stop Tuner 20, limiting rearward pivot/upward pitch change, and the compound flat spring arrangement comprising a stabilized biasing element operable to both establish and enforce initial position when the strings are tensioned to play.
Single adjustable Tremolo Stabilizer 50 added to spring block 21 comprises tensioner 51 threadedly engaged with extended portion 23 formed to receive washer 54 and pre-tensioned compression spring 54 operable to exert force on fine adjuster 55, theadedly supported by guide element 52, to make variable contact with tremolo pocket contact area 29 of body 3. Threading tensioner 51 is operable to vary pre-tension at initial contact and threading fine adjuster 55 within guide element 52 is operable to variably adjust to tremolo pocket contact area 29 at initial position to stabilize tremolo 10. Single pre-tensioned compression spring 54 comprises at least 8˜10 pounds force. Any tendency for sharpened pitches, by pivoting tremolo 10 lightly and/or bending string 6, etc. activates stabilizer mechanism 50 with its limited capacity to urge spring block 21 in a direction away from nut 7 (not shown) against tremolo pocket contact area 29, tremolo 10 at initial position. Stabilizer 50 pre-loaded coil spring 53 biasing element 19 first variable force of tension to increase the force required to pivot fulcrum tremolo 10 from initial position rearwardly. Threading fine adjustment element 55 is operable to establish initial contact at initial position. Threading the tensioner housing is operable to adjust the pre-load of the coil spring element.
Further, Tremolo Spring comprising a first upper leg, the first upper leg secured to the instrument, flexible bend 62, lower leg 63 including a curved portion 80 extending to variably meet body 3 at first variable contact area 65, the L-shaped flat spring 60 operable to hold a first variable force of tension at initial position.
A Global Tuner arrangement is shown with a global tuner thumbwheel 24 rotatably supported by base element 21. Thumbwheel 24 shaft further comprising a cylindrically shaped tensioner element 66 comprising cam-like surface 70. Tensioner curved spring element 72 having a first curved end 73, wherein first curved end 74 pivotably mounted within second recess 71 and second curved end 73 pivotably mounted within second recess 73 in the base element 21. At least a portion 72 of the flexible curved portion operable to contact the first L-shaped spring 61 at second variable contact point 75 closer to the flexible bend 62 than to the tip 80. Cam-like surface 70 in variable contact with first end 73 of tensioner spring 72 within first recess 68. Rotating global tuner thumbwheel 24 is operative to rotate the cam-like portion 70 to adjust first end 73 and, thereby, adjust the first variable force of tension.
The various features of novelty, which characterize the invention, are intended to improve the upward spiral of Light and are pointed out with particularity in the claims annexed to and forming a part of this disclosure. For a better understanding of the invention, its operating advantages and specific objects attained by its use, reference should be had by the accompanying drawings and descriptive matter in which there are illustrations and described preferred embodiments of the invention.
While specific embodiments of the invention have been shown and described in detail to illustrate the application of the inventive principles, it will be understood that the invention may be embodied otherwise without departing from such principles.
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