Arrangement for reducing the inharmonicities of guitar strings

Abstract

The present invention relates to an arrangement for reducing the inharmonicities of guitar strings 1, wherein the arrangement comprises a guitar 5 with at least one guitar string 1 stretched between two supports and at least one compensator 2 fixed to the guitar string 1, wherein the compensator 2 is a displaceable, isosceles clamp 2 clamped onto the guitar string 1 and designed as an open round clamp.

Description

TECHNICAL FIELD

[0001] The present invention relates to an arrangement for reducing the inharmonicities of guitar strings, wherein the guitar strings stretched between two supports are provided in a defined section with an additional weight that changes the vibration frequency. BACKGROUND / STATE OF THE ART

[0002] Inharmonicity or partial detuning is a phenomenon in music that can be observed in vibrating strings. When a string is made to vibrate, it vibrates both along its entire length and in sections that correspond to whole-number portions of the string's length, such as half its length, one-third of its length, one-quarter of its length, etc. The vibration of the entire string produces the fundamental or first partial, while the respective sections, which vibrate twice, three times, four times, etc. as fast, produce the overtones, i.e. the second partial, third partial, fourth partial, etc., with the frequencies of the partials being related to each other like whole numbers. In practice, however, the phenomenon occurs that higher frequency components deviate from the exact whole-number relationship to the fundamental frequency and the notes exhibit a degree of inharmonicity, with the overtones vibrating faster and thus sounding higher.While the sound quality of notes with small deviations from the harmonic frequencies is still perceived as pleasant and good, notes with larger deviations sound audibly poor, even to the layperson. The inharmonicity depends on the diameter, length, frequency, and elastic modulus of the string material.

[0003] Several ways to reduce or prevent inharmonicities are described in the literature. For example, US Pat. No. 1,859,553 A describes ways to modify the vibrations of strings on musical instruments, particularly pianos. This is achieved by loading the string with one or more weights at a desired point or at several points spaced more or less apart between the ends of the string's vibrating length. The weights, firmly attached to the string, have a substantially circular cross-section and a gently curved, convex longitudinal section.

[0004] JPS 54 16 45 44 U describes the use of cylindrical weights made of lead, steel or plastic, which are applied to the core wire of a wound string at predetermined locations and are wound together with the core wire in order to locally change the weight of the string and thus reduce the inharmonicities.

[0005] The subject of US 5 817 960 A is the structure and a method for producing wound bass strings for pianos, wherein a musical string comprising a core wire has a first and second bare end portion extending from the opposite ends of an intermediate portion, a wrapping wire on the intermediate portion of the core wire and a compensating winding provided for modifying the inharmonicity characteristic of the musical instrument, which is arranged concentrically on an end portion of the wrapping wire.

[0006] The first three methods described above for improving the sound of stringed instruments, which particularly focus on improving the sound of pianos, are relatively complex and require precise mathematical determination of the location where the additional weight is placed, as well as the weight's mass. In addition, attaching the weights to the core wire of the strings often involves considerable additional technical effort. A further disadvantage of the methods described above is that, once the position for the weight has been selected, it cannot be changed again, or only with considerable additional technical effort.

[0007] The utility model DE 90 07 231 U describes string instruments, in particular violin, viola and cello, in which the secondary chord, namely the chord between the bridge and the tailpiece, can be adjusted in a tonally favorable manner by means of strings and tailpiece, wherein the weight of at least one string in the secondary area has a higher specific weight than in the primary area, at least one string in the secondary area has at least one weight or the tailpiece is designed in such a way that at least one string can be screwed to the tailpiece at different points before its attachment point.

[0008] The process described in the above-mentioned utility model is not suitable for eliminating or reducing the inharmonicities of guitar strings.

[0009] Comparable arrangements in which the strings are also manipulated in the secondary regions of stringed instruments are disclosed in US patents US 2018 / 0254024 A1 and US 2007 / 0131083 A1. US 2018 / 0254024 A1 discloses a damper for a stringed instrument comprising a bar made of metal, plastic, or another suitable material, the ends of which are folded or bent such that the damper, which lies above the strings, envelops the outer strings of the stringed instrument. The damper is arranged in the secondary region between the saddle and the tailpiece of the instrument. US 2007 / 0131083 A1 discloses a device arranged on a non-vibrating part of a string of a stringed instrument, which enables the musician to achieve targeted pitch changes without having to retune.Both arrangements described above are not suitable for eliminating or reducing inharmonicities of guitar strings in the primary range.

[0010] The object of the present invention is to provide an arrangement for reducing the inharmonicities of guitar strings, which is easy to install without tools, is easy to adjust experimentally and thus has advantages over the prior art described above. PRESENTATION OF THE INVENTION

[0011] The object is achieved by an arrangement according to claim 1. Further possible embodiments of the invention are specified in particular in the dependent claims.

[0012] The arrangement according to the invention for reducing the inharmonicities of guitar strings comprises a guitar with at least one guitar string stretched between two supports and at least one compensator fixed to the guitar string, wherein the compensator is a movable, isosceles clamp clamped onto the guitar string and designed as an open round clamp.

[0013] An advantageous embodiment of the present invention provides that the body of the compensator has an elongated design aligned with the stretched guitar string and thus has an elongated shape extending in the direction of the stretched string for the observer.

[0014] In a further advantageous embodiment, the legs of the compensator, which is designed as an isosceles clamp and is fixed to the at least one string, initially approach each other inwards as a continuation of the curvature of the open round clamp and are then spread outwards at an angle between 0° and 30°, preferably 5° and 30°, with respect to a vertical bisecting the clamp.

[0015] The legs of a separate clamp, not attached to a string, extend in a straight line next to each other, at a defined distance from each other, leading outward from the arch. The legs are preferably slightly splayed outward, making it easier to attach the clamp to the string. The legs essentially serve as a guide for inserting the string into the arch.

[0016] This special design of the clamp makes it possible for the compensator to be easily attached or clamped onto the string without any particular effort and, conversely, to be removed from the string again by applying appropriate counterpressure to the spread legs, which causes the clamp to widen.

[0017] The compensator is most effective when positioned near the guitar's bridge. At this point, the guitar can also be played by hand, particularly with the "palm mute" technique used on electric guitars, in which the strings are muted with the heel of the strumming hand, placed close to the bridge.

[0018] In a preferred embodiment of the present invention, the compensator therefore has an ergonomic profile with rounded corners and edges on all sides, allowing the strings to be played easily at this point without risk of injury. The ergonomic nature of the compensator is further enhanced by keeping the material thickness of the compensator so low that the top of the compensator protrudes only slightly beyond the string, thus preventing any hindrance when playing the string. This is easily possible with the appropriate selection of the material for the compensator, without compromising the stability or weight of the compensator.

[0019] Metal, stainless steel or plastic is preferably used as the material for the compensator.

[0020] It is known from the state of the art that inharmonicity depends on the diameter and length of the string, the frequency, and the elastic modulus of the string material. This means that the shorter, thicker, and looser the tension of a string, the greater the inharmonicity value. Accordingly, the compensators must be adapted to the respective strings in size and weight, although this does not change the basic design or the idea behind the invention. For a guitar, for example, this means that the largest and heaviest compensator should be provided for the E bass string, correspondingly smaller and lighter compensators should be used for the A and D bass strings and the G string, while the two high treble strings, B and E, can function without a compensator.

[0021] The guitar used according to the invention preferably has a saddle arranged between the headstock and the guitar neck and a bridge arranged on the body, with at least one guitar string stretched between two supports being stretched between the saddle in the neck area and the bridge on the body of the guitar. The compensator is arranged on the at least one guitar string stretched between the saddle and the bridge, adjacent to the bridge.

[0022] A particularly advantageous embodiment of the present invention provides that the guitar is an electric guitar, wherein a further advantageous embodiment provides that the electric guitar has a pickup in the bridge position, wherein in a preferred embodiment of the present invention the compensator is arranged in the vicinity of the bridge of the guitar, between the bridge of the guitar and the pickup in the bridge position.

[0023] In the following, the present invention is explained by way of example with reference to drawings. DESCRIPTION OF THE DRAWINGS

[0024] The various exemplary features described above can be combined with one another according to the invention, as long as this is technically feasible. Further features, advantages, and embodiments of the invention will become apparent from the following description of the figures, which explain the proposed arrangement in detail using selected examples. It is self-evident that these examples are in no way to be viewed as limitations, but merely serve to explain the basic principle of the present invention.

[0025] The figures used for explanation show: Fig. 1 a plan view of an electric guitar with the arrangement according to the invention, Fig. 2 a perspective view of a compensator together with a cross-section of a corresponding string, Fig. 3 the cross-section of a string with attached compensator, Fig. 4 a cross-section of a compensator with separate string and Fig. 5 a side view of a section of a string with a compensator attached.

[0026] The Fig. 1 shows a plan view of a six-string electric guitar 5 with an arrangement for reducing the inharmonicities of guitar strings 1, wherein the arrangement comprises a total of six guitar strings 1 stretched between two supports, of which the four low strings 1 of the electric guitar 5 are each equipped with a compensator 2 that is fixed to the respective guitar string 1. The saddle 8 arranged between the headstock 6 and the neck 7 and the bridge 10 positioned on the body 9 of the guitar 5 serve as supports for the guitar strings 1, between which the guitar strings 1 are stretched. The guitar strings 1 are attached to the tuning machines 13 on the headstock 6 of the guitar 5 and to the tailpiece 16 arranged behind the bridge 10 equipped with the string saddles 17 on the body 9 of the guitar 5.In the preferred embodiment of the present invention shown here, the compensators 2 are positioned adjacent to the bridge 10, between the bridge 10 and the pickup 12 in the bridge position. Further details to be mentioned in the illustration include the second pickup 11 in the neck position, the fingerboard 14, and the frets 15, the distance between which continuously decreases from the head 6 to the body 9. In the selected overview illustration, the details of the compensators 2 themselves, which constitute the actual invention, cannot be seen. These are therefore not shown in the following. Fig. 2 to 5, in which the compensators 2 are shown greatly enlarged, are explained in detail.

[0027] Subject of the Fig. Figure 2 is a perspective view of a compensator 2 along with a cross-section of a suitable string 1. The compensator 2 is an isosceles clamp 2 designed as an open, round clamp. It can be clamped onto the string 1 from above with light thumb or finger pressure, where it is then held in place by the tension. The material and thickness of the compensator 2 are selected such that, when attached, it sits firmly on the guitar string 1, yet can still be manually adjusted to the desired position optimal for reducing inharmonics.In the advantageous embodiment of the present invention presented here, the body of the compensator 2 has an elongated shape aligned with the stretched guitar string 1. The legs 3 of the compensator 2, designed as an isosceles clamp 2, initially converge inwardly as a continuation of the curve of the open round clamp, and then extend in a straight line away from the round arch at a defined distance from one another. Preferably, the legs 3 are slightly spread outward, which facilitates the insertion of the clamp 2 onto the string 1.

[0028] The Fig. 3 is a cross-section of a compensator 2 attached to and fixed in place on a string 1. Depending on the thickness of the string 1 and the tension of the clamp, the legs 3 are spread outwards at a specific angle 4, wherein the angle 4 is preferably between 5° and 30° with respect to the vertical line bisecting the clamp. The tension of the clamp 2 and the dimension of the round arch are selected to suit the thickness of the respective string 1. Since the legs 3 of the compensator 2 attached to the string 1 are spread outwards, it can be easily pushed upwards and removed from the string 1 using a flat object such as a coin or a plectrum, or even with the thumb. The assembly and disassembly of the compensator 2 is therefore simple and can be carried out without the need for special tools.

[0029] In the Fig. Figure 4 shows a further advantageous embodiment of the present invention as a combined section of a compensator 2 and a string 1. The ends of the legs 3 are angled outward in this case, further facilitating the attachment of the compensator 2 to and removal from the string 1. The angled ends of the legs 3 particularly facilitate the removal of the compensator 2, which, thanks to the ergonomic shape of this design with rounded corners and edges, can be done easily with the thumb and without risk of injury. This design naturally also facilitates the movement of the compensators 2 to adjust the correct position for suppressing inharmonicity.

[0030] Subject of the Fig. Figure 5 is a side view of a compensator 2 mounted on a string 1, highlighting the particularly advantageous design of the compensator 2 with an ergonomic profile with rounded corners or edges on all sides. This preferred embodiment also takes into account, in particular, the fact that the compensators 2 are arranged in an area of ​​the guitar 5 adjacent to the bridge 10, where the strings 1 are played with the ball of the hand, for example, in the so-called palm mute technique, which is Fig.The ergonomic design of the compensator 2 shown in Figure 5, with its rounded corners and edges on all sides, poses no problems, so that the ball of the hand can be placed on the top side of the strings 1 without risk of injury. At the same time, for ergonomic reasons, the material thickness of the compensator 2 is preferably kept so small that the top side of the compensator 2, when placed on the string 1, only protrudes slightly beyond the string 1 and thus does not hinder playing the guitar.

[0031] In summary, it can be stated that the present invention makes it possible in a simple manner to reduce or completely suppress the inharmonicities of guitar strings 1, the particular advantages of the invention being that - the compensators 2 provided for this purpose can be manufactured without major complications, preferably from metal, stainless steel or plastic, - can be easily assembled, adjusted and disassembled by hand without special tools and - do not hinder playing the instrument.

[0032] The precise positioning of the compensators 2 on the guitar strings 1 is easily achieved by the musician moving them manually, with the optimal position being determined by ear. It should be noted that the compensators 2 must, of course, sit firmly enough on the strings 1 that they do not slip while playing the instrument, so a solid, flat object, such as a guitar pick or a coin, is often required as an aid when moving them manually. LIST OF REFERENCE SYMBOLS 1 string 2 compensator, clamp 3 legs (clamp) 4 angles 5 guitar 6 heads 7 Neck 8 Saddle 9 Corpus 10 jetty 11 pickups (neck side) 12 pickups (bridge side) 13 tuning mechanisms 14 fingerboard 15 frets 16 tailpieces 17 saddles

Claims

[1] Arrangement for reducing the inharmonicities of guitar strings, the arrangement comprising a guitar (5) with at least one guitar string (1) stretched between two supports and at least one compensator (2) fixed to the guitar string (1), the compensator (2) being a displaceable, isosceles clamp (2) clamped onto the guitar string (1) and designed as an open round clamp, characterized by that the legs (3) of the compensator (2), which is designed as an isosceles clamp and on which at least one string (1) is fixed, initially approach each other inwards as a continuation of the curvature of the open round clamp and are then spread outwards at an angle (4) between 5° and 30° with respect to a vertical bisecting the clamp (2). [2] Arrangement according to claim 1, characterized by that the body of the compensator (2) has an elongated shape aligned with the stretched guitar string (1). [3] Arrangement according to one of the preceding claims, characterized by that the compensator (2) has an ergonomic profile with rounded corners and edges on all sides. [4] Arrangement according to one of the preceding claims, characterized by that the material for the compensator (2) is metal, stainless steel or plastic. [5] Arrangement according to one of the preceding claims, characterized by that the guitar (5) has a saddle (8) arranged between the head (6) and the neck (7) and a bridge (10) arranged on the body (9), wherein the at least one guitar string (1) stretched between two supports is stretched between the saddle (8) in the neck area and the bridge (10) on the body (9) of the guitar (5). [6] Arrangement according to claim 5, characterized by that the compensator (2) is arranged on the at least one guitar string (1) stretched between the saddle (8) and the bridge (10) in the vicinity of the bridge (10). [7] Arrangement according to one of the preceding claims, characterized by that the guitar (5) is an electric guitar. [8] Arrangement according to claim 7, characterized by that the electric guitar (5) comprises a pickup (12) in the bridge position, wherein the compensator (2) is arranged in the vicinity of the bridge (10), between the bridge (10) and the pickup (12) in the bridge position.

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