Thumb pick for string instruments

Abstract

The invention relates to a pick that can be coupled to the thumb to play string instruments and solves the disadvantages of previous models, which are that, mainly, they do not allow good upward attack of the string, thereby causing a loss of control, and that the attack of the string is not perpendicular, given that when holding a standard flat pick, the angle formed between the flat surface of the pick and the longitudinal axis of the thumb is negligible. To solve this problem, particular parameters have been re-established with respect to the size, shape and profile of a conventional thumb pick, especially by increasing the distance from the thumb edge (10) to the pick tip (11), generating a spring effect in the ring (1), which softens the upward attack. The device is made in two parts: the ring (1), which is can be adjusted to correct the second defect, and the pick (2).

Description

Thumb pick for stringed musical instruments

[0001] The purpose of this application is to register a pick (also known as a plectrum or pick) that is attached to the thumb by means of a ring for playing stringed musical instruments. This is because existing models, due to their inherent construction, do not resolve certain problems that discourage musicians from using them. This makes them marginally used compared to flat picks. This model resolves these problems, which are detailed in the prior art section.

[0002] To understand the advantages claimed for this device, it is necessary to understand the evolution of this specific type of pick since its inception: stringed musical instruments have traditionally been played using two techniques: the pad or fingernail (the latter primarily used by nylon-string players, such as flamenco or classical); or a flat plectrum or pick, mostly used for metal strings (banjos, lap steel guitars, mandolins, lutes, and electric or acoustic guitars with metal strings), which requires holding the pick with at least the index finger and thumb. Each of these techniques has its advantages and disadvantages: fingerpicking allows for playing multiple strings simultaneously, or for obtaining a percussive sound, or both, while the pick provides speed, good attack, and control in melodic lines.

[0003] Obviously, there have been attempts to get the best of both worlds, and as early as 1930, GD Beauchamp filed patent US1787136, a metal thumb pick made in a single piece, a sheet in which one end forms a ring to embrace the finger, the other end being the one that attacks the string, a design that in different materials survives to this day, reproduced in lab. We will refer to this model and its evolution in plastic from now on as a conventional thumb pick, to distinguish it from some new models recently marketed.

[0004] However, its use poses the drawbacks mentioned below, and therefore, the vast majority of performers remained faithful to the use of the flat pick, whose manufacture went from being something handmade by each musician with tortoiseshell (fragile and brittle) to being produced industrially in 1922 thanks to Tony D'andrea, who not only replaced the tortoiseshell (today prohibited by international legislation) with cellulose, but also established several standards in his catalogue, although he did not file any patent;specifically its model no. 351 reproduced in the, is the model used by the vast majority of guitarists, the most imitated (or at most slightly modified) by far and -very important for one of the characteristics pursued by the present model-, to whose touch, shape, and of course results in the execution of the instrument, the performers are therefore accustomed, so much so that today it is not just another standard, but the standard par excellence. And it is this model 351 that we will take in this application as a reference for the results in comfort and therefore in the execution, to be achieved in our thumb pick.;

[0005] Relegated to use on lap steel and banjos because they produced an excessively metallic sound due to their sheet metal construction, it was from 1960 onwards, with the manufacture of nylon, cellulose, and especially delrin (acetal), that finger picks became more widespread, while retaining, as mentioned above, their initial shape in one piece.

[0006] The main limitation of these models is that they only allow for a good downward attack on the string. Upward attack, if the pick is hard, will be very stiff, as the excessive force it transmits creates a stumbling or snagging sensation, resulting in a lack of control. On the other hand, if the pick is soft, it will tend to slip off the finger, which also causes exactly the same problems, albeit in a different way.

[0007] Another problem inherent to its construction is that the angle formed between the plane of the pick and the longitudinal axis of the thumb that is formed when gripping the flat picks is very far from coinciding (this can be shown in [Fig,2]a,b) causing the angle of attack of the flat part of the pick with respect to the string to not be perpendicular to it, often generating an unwanted "scratching" effect with the edge of the pick, an action that to avoid would require moving the entire hand in an unnatural way.This extreme was attempted to be solved with the patent filed by Jim Dunlop in 1996 US5509341 (first serious attempt to correct some of the drawbacks of this type of pick), in which a conventional thumb model is offered with the tip bent at an angle (specifically in its commercial version it is offered in angles of 10, 20 and 30º), having obtained little repercussion because both having to choose a strict predetermined angle, and the fact that the area that is in contact with the pad of the thumb is still a relatively narrow band, makes the "feel" not convince flat pick players, who are accustomed to shapes that always have a lot of contact area with the finger.

[0008] In fact, most players, more or less unconsciously—and this is a very important fact to keep in mind if they're looking for a touch similar to something they're already accustomed to—also use part of their middle finger, resting it on one of the lateral points of the pick to "tilt" this attack. This is reflected in the A, where the aforementioned point of contact with this finger can be seen.

[0009] The latest notable breakthrough came with the 2021 patent US11087724B1, represented by lac, which addresses the main drawback of thumb picks: the upward attack. This is achieved through a device with two moving parts: the lower one resembling a standard flat pick, and the upper one the finger ring. These are connected by a hinge-like pin embedded in the same nylon, with a spring that cushions the force and rigidity of this attack. Despite its success in this regard, this model does not correct the angle of attack of the pick, nor does it seem to have gained much traction, since the feeling of carrying such a device on the finger feels unnatural. Furthermore, the spring that controls the attack also affects the pressure exerted on the finger, which can be very uncomfortable, especially over prolonged periods of time. In fact, this pressure causes the nylon parts to deform with use.

[0010] Other commercial models of thumb picks try as much as possible to approximate the feel of the flat pick (with the lower shape in standard 351 form, with mobile pick on non-fixed joints, or a pivot to regulate the grip position of the pick, etc.), such as patents US6949700B1 represented in lad and US4020732 in lae, but always made of nylon or delrin, with which in addition, the ring, given the thickness of the plastic, protrudes as reflected in lasb,c,d,e,f causing the occasional snag with the string, being also quite difficult to generate artificial harmonics, which are achieved by rubbing the side of the thumb just after and almost simultaneously to the attack of the string.

[0011] And it is for all these reasons that no current model remains convincing enough to minimally displace the use of the flat pick; so much so that some high-level players even try a hybrid technique, holding it with the index and thumb, and using the middle, ring, and even pinky fingers (a finger that is rarely seen used in the playing of the hand that strikes the strings) to play the first strings.

[0012] Another important problem that cannot be ignored is that, since they are generally manufactured in a single piece, the marketing of thumb picks for left-handed people is anecdotal (if not non-existent), so it is logical that these people do not even consider the alternative to using flat picks.

[0013] Having stated the problems to be solved, this model is detailed: it is a pick that can be attached to the thumb (t) -English thumbben- whose main characteristic is its length (d) from the side of the thumb (10) to the end of the pick (11), a parameter that has been modified with respect to the existing one, explained in detail below.

[0014] Feature combined with its construction in two pieces, the first a ring (1) of sheet metal that for the objective pursued has enough elasticity as well as plenty of rigidity to hold the finger, and therefore not dependent on the material used by the second piece, the pick (2) itself, responsible for attacking the string(s) -destring-; these two pieces will be joined by rivets (3) or any other type of fixing.

[0015] Regarding the piece that acts as the spike (2), as it is a separate piece, it becomes feasible to use for its manufacture the advantageous in many aspects modern materials that have been imposed in flat spikes, such as Ultem®, Lexan®, acrylic polymers, carbon fiber...

[0016] Regardless of the material used (each of them will print a different touch, character and sound) the most important feature to highlight is its shape: based directly on the standard model 351 in order to offer that small support of the middle finger (m) -demiddle in English- already explained in the previous section, that most performers use, and thus not look strange, generating confidence and control; but, and now we return to the main characteristic of this model, with a distance (d) between the edge of the thumb (10) and the tip of the pick (11) much greater than usual, which currently does not exceed in most cases 8 or 9 mm (d') by directly imitating the conventional pick grip position in which it protrudes very littlea,b; taking it to a distance of more or less double, between about 12 and 20 mma.

[0017] With this extra length "outside" the thumb, what is achieved is that the ring (1) itself, being metallic, acts as a springb, since this system works as a lever in which the pivot point is (9), cushioning the upward attack ostensibly thanks to the angle (α) generated with respect to the transverse axis (x) of the thumb, axis on which the pick remains at resta, but without losing any control. However, in the downward attack, the angle with respect to this axis (x) will remain almost immovable, providing "punch", which is what is generally sought in this movement. And this without resorting to mechanisms or non-rigid joints or any other artifice.

[0018] A great consequence of this is also that string jumps are made more easily without needing more than a turn of the finger because for the same angle of turn (β) we obtain a greater distance (h) with respect to what we would get with a current model of thumb pick (h') -remember that its length (d') is imitative of the standard flat pick and for this reason, for greater clarity, this is the one represented in the figure- not needing to move the entire hand, giving a more intuitive "search" for the string in general.

[0019] To also help reduce friction when attacking upwards, it has also been provided with an asymmetrical profile shape: the upper part (5) is conveniently carved and polished forming a smooth curve from the tip (11) to the point of maximum thickness or zenith (12), while the lower part (6), beveled (7), maintains the flat shape, providing a downward attack as strong as desired, defined and secure, which is a very common technique especially when combining with fingers. Therefore, this asymmetrical shape is ideal both for alternate picking (also called pick against pick), sweep picking and other resources that simultaneously require speed and power in the melodic lines, as well as for finger technique.

[0020] Although the planform could remain as is, a cut (4) has also been made along the side closest to the tip of the thumb, with two purposes: one is to use if desired (as it is not exclusive) the index finger (i) -index in English- so that instead of placing it on the back of the pick in the traditional way as seen in laa, this part can be held directly in the manner that laa reflects, which results in more options for both control and rest of this finger, offering a surprising result.

[0021] The other is an immediate and easy execution of a technique called pick scrape, which consists of sliding the edge of the pick longitudinally over one of the wound strings (the lowest), producing a peculiar and widely used sound device. This cut is optional and can be omitted (see lab); in fact, depending on the very diverse preferences of players, the other side can also be cut, as with lac, thus making this device available in three different forms.

[0022] The metal ring also offers the following advantages: stability and good support, being rigid enough so that when attacking the string(s) it does not move from the finger, and at the same time malleable enough to be given the appropriate shape, and so that it can be personalized and adaptable to each particular user. This variety of adjustments are observed in lab, and act on the following parameters: both the shape and the tightening force of the ring, and -very important since it solves one of the main problems- the search for the perpendicular angle of attack of the string with respect to the flat part of the pick by correcting the angle (γ), as well as even being able to fine-tune the main distance (d).

[0023] In order to add comfort, better fit, and at the same time protect the cuticle, the ring has been chamfered (8).

[0024] Another significant advantage is that, as already mentioned, all commercial thumb picks made of plastic, due to their thickness and the fact that they do not completely fit the finger at their outermost part (the side of the thumb), stick out at this point and can interfere with certain aspects of the performance with stumbling and snagging; on the other hand, the thinness of the metal and the tight fit to the finger do make it possible to avoid these problems, adding to this the ability to generate artificial harmonics by leaving the area (ah) on the side of the thumb free.

[0025] One final advantage of the two-piece construction is that it makes manufacturing for left-handed users more affordable since it is done in separate processes.

[0026] As already explained, the technical problems to be solved focus, always taking the standard flat pick most commonly used as a reference, on the inability of commercial thumb picks (which are primarily conventional ones, a strip of plastic wrapped around the thumb, leaving a blade with which the strings are struck) to imitate what the former offer, both in terms of feel and comfort, and in the musical result of the performance. Two basic aspects arise here, without prejudice to some minor ones, which are the ones we focused on in the previous Technique section and recall here:

[0027] The first of the main limitations is that these picks only allow for a good downward attack. If the pick is hard, the upward attack will be very rigid, as the excessive force it transmits creates a stumbling or snagging sensation, resulting in a lack of control. On the other hand, if it's soft, it will tend to slip off the finger, which also generates, albeit in a different way, exactly the same problems. While the Lac model mentioned above has managed to solve this specific problem, it doesn't solve the one described below; in fact, it also creates another problem.

[0028] The next main limitation, as already explained, is that the angle (γ) formed between the plane of the pick and the longitudinal axis (z) of the thumb when gripping flat picks does not coincide; this causes the angle of attack of the pick with respect to the string to not be perpendicular, often generating an unwanted "scratching" effect with the edge of the pick, an action that would require moving the entire hand in an unnatural way to avoid. This factor has had an attempt to correct, also mentioned above, but without intervening in other fundamental aspects with which the progress has been minor and in fact this path has not been imitated.

[0029] As secondary problems, we can expose the following regarding additional techniques commonly used: the impossibility of generating artificial harmonics, and the pick scrape technique.

[0030] The string getting caught in the plastic ring, which usually sticks out due to its thickness and loose fit to the thumb, is frequent, annoying, and most of the time causes undesirable effects on the musical performance, altering the tempo of the interpretation and it is not at all unusual for it to displace or even pull the pick out of the finger.

[0031] As a final note, left-handed models are anecdotal, if not nonexistent. Among the conventional thumb picks inherited from the Beuchamp original, the Lab, the undersigned inventor has personally found only one, and it's a completely metallic one intended for banjo and lap steel, courtesy of the world's largest manufacturer, the American Jim Dunlop. And although the Lasc, D, E, and F models might appear to be symmetrical, the ring isn't, and therefore, they don't address this issue either.

[0032] As a summary, since the solutions were already presented in the Summary of the Invention section, the solutions provided to the aspects raised in the immediately preceding section are listed here again.

[0033] The problem of the string attack upwards is solved by modifying the distance (d) between the edge of the thumb (10) and the tip (11) of the pick, increasing the typical length by at least double, that is, from 8-9, or at most 10mm, which would lead to a length of at least 12mm; and imposing a limit of 20mm, which would make it unwieldy. An optimal intermediate length could be about 15mm, but this will depend on the performer's preferences. This length is what causes, together with the elasticity of the metal ring, the spring effect described in.

[0034] The problem of the angle of attack on the string is also solved with the intervention of the metal ring (1), which is malleable enough to adjust the angle (γ) to the performer's tastes, as can be seen in lab. And although this sheet metal material can be bent, once bent it retains its shape to provide a good grip.

[0035] In this line of adjustment and tightness of the ring (1), the problem of snagging on the strings disappears by itself, since there is no longer any ring material sticking out when it hugs the thumb.

[0036] .Tight that leaves the outer edge of the thumb free and accessible, the area (ah), with which artificial harmonics are played, and that prevents the strings from getting caught in the ring that now does not protrude.

[0037] The imperative need for the performing musician to feel comfortable with their tools in order to optimize their resources and, consequently, the quality of their performance has been emphasized here; this is why the notable differences with form 351 and similar forms to which they are accustomed result in the renunciation of the a priori undeniable advantage of having the rest of the fingers of the hand free. In this case, the form adopted allows for the support of the middle finger (m), which, although here it does not perform the function of the small tilting it does on the flat pick, is appreciated in terms of the reminiscent touch and the acquired sensation of being able to control the pick.

[0038] The solution to the manufacturing of the left-handed model is achieved by implementing the device in two pieces, instead of the single one traditionally used. Since the parts are manufactured in independent processes, the same clamping ring (1) can be used, which will be identical in both cases, except for the side on which the chamfer (8) is made later, thus reducing costs and enabling its commercial expansion.

[0039] This two-piece construction also allows for the production of various shapes; for example, shapes (13) and (14) of lasb,c respectively have been proposed here. This model is characterized by a cut (4) in the lateral plan without beveling to allow the pick scrape technique. The effect produced by this technique is even more profound than in a standard flat pick, since these, apart from having a curved side plan, have a beveled edge on both sides and therefore the "dragging" surface is smaller.

[0040] Regardless of the solution to the main problems raised, of course, the presented model provides some very advantageous collateral properties to be taken into account.

[0041] The immediate is the gratifying surprise that as a consequence of increasing the effective distance (d) between the thumb and the tip, the string jumps (attacking a string not adjacent to the one previously attacked, or in other jargon, plucked) gain in speed and intuition as described in a graphic way, also, and this is very significant, with respect to the standard flat pick, with which we not only manage to imitate to a great extent its characteristics, but also to surpass them in some.

[0042] The ability to separate the material of the ring (1) that holds the finger from that of the pick piece (2) allows you to choose different materials, which produce different timbres.

[0043] Along the same lines, allowing the development of models for left-handed people, who are largely marginalized in this specific field, is a more than significant advance.

[0044] It is also possible to create models with different pick thicknesses, which influence both comfort and personal playing preferences, as well as the timbre in combination with the material used.

[0045] And the creation of different alternative future forms that open up the range of individual preferences.

[0046] Among these shapes and as has been said, in the present model it has been decided to make a cut (4) to facilitate the pick scrape. Well, this cut also serves so that the index finger (i), if desired and in a changing manner throughout the interpretation, instead of remaining on the back of the pick, can be placed holding the side, which again makes that although it has no real effect on the execution, it provides "that" even greater sensation of control appreciated by the musician. In addition to the rest that provides being able to change the position of the finger from time to time, something that is simply not possible with the flat pick since this finger is essential to hold it, and always remains in the same position,

[0047] As for the material used for the ring, apart from having a significant influence on the upward attack of the pick and the angle of attack, it allows for the customization of the grip on the thumb, making it possible to adjust the grip with more or less force and allowing for a good fit.

[0048] Remember that apart from the angle (γ), the distance (d) is modifiable up to a certain point, allowing a more precise adjustment of this parameter if desired.

[0049] To complement the description being provided and to facilitate a better understanding of the features of the invention, a set of illustrative, non-limiting drawings is attached as an integral part of said description. It should be noted that the examples are taken from the model for right-handed users (R); the left-handed models (L) should simply be imagined in a mirror image, although a specific representation of them has been prepared in the last figure. Fig. 1

[0050] It shows the D'andrea Model 351 flat pick design, which has become the standard and is by far the most widely used today, and which we are constantly using as a reference in this application. Fig.2

[0051] It shows the general differences between holding a standard flat pick, which we remember is the desired feel, and conventional thumb pick models. On the left, a view from above and from the side shows how to hold a standard 351 flat pick, and on the right, how to hold a conventional thumb pick.In the latter, emphasis is placed on the (small) effective length (d') of the pick that protrudes from the thumb, as it is intended to imitate the position obtained when holding the standard pick; and conversely, while in the standard pick the angle (γ) formed between the plane of the pick and the longitudinal axis (z) to the thumb that holds it is adequate to transmit an attack as perpendicularly as possible to the string, in the conventional thumb pick, the small angle (γ') of almost 0 degrees can be seen, which at the time of execution will often result in an inadequate attack, scratching with the edge of the part in contact with the string in an undesired manner instead of doing it fully with the flat part. And finally, it is reflected how commonly the flap of the thick plastic ring protrudes enough to produce snags in the string. All these parameters will be corrected in the present model.In order to demonstrate that the drawbacks described apply to (if not all) the vast majority of commercial models, lac, d, e, and f show the most elaborate and, to some extent, successful ones. Specifically, lac shows patent US11087724B1; lad US6949700B1; lae US4020732; and laf an unpatented model from the manufacturer Jim Dunlop. At first glance, all of them show the small angle (γ'), the short protruding length of the prong, and the thickness of the plastic ring, characteristics shared with the conventional lab model. Fig.3

[0052] The la shows the solutions proposed in this model. The laa shows the greater length or distance (d) of the pick compared to current ones, whether conventional or not, while the lab shows the adjustment possibilities thanks to the metal ring (1): customizable thumb grip, optimal correction of the angle of attack (γ) to personal preferences, and a more precise adjustment of the distance (d) if desired. Fig.4

[0053] La shows the solution to the main problem of the upward thumb pick attack. Specifically, laa shows the downward pick attack, in which the axis on which the pick remains remains practically immovable with respect to the transverse axis (x), which is where the pick is at rest; while in contrast, lab shows the desired effect of cushioning the upward attack (the main drawback of conventional thumb picks) to provide smoothness and continuity to the alternating picking technique. The spring effect (α) with respect to the previous axis (x) with the pivot point at (9) is highlighted by the lever generated by the greater length (d) of the pick. Fig. 5

[0054] It shows the differences in the rope-skipping technique between a commercial thumb pick or a standard flat picka and this modelb; it can be seen that since the distance (d) is much greater, for an identical angle (β) a greater distance (h) can be covered with respect to (h') up to the string to be skipped with just a turn of the finger, whereas in the case of the other picks it is necessary to make a movement of the entire hand. The area on the side of the thumb (ah) that is free to be able to force artificial harmonics is also shown. Remembering that the length (d') of the thumb picks is imitative of the standard flat pick, and given that this advantage is also applicable to the latter, for greater clarity of the concept the flat pick has been represented here. Fig.6

[0055] It shows the asymmetric profile of the pick (2), curved on the upper side (5) from the tip (11) to the zenith of this curve (12), coinciding with the widest part of the pick in order to complete the smoothness of the action shown in lab; being on the lower part (6) flat with a bevel (7), to provide “stickiness” in the downward pick action shown in laa. Fig.7

[0056] It shows the different plant forms in which this device is manufacturable: laa with the cut (4) lateral to the pick to achieve another alternative form of fastening and / or to facilitate the pick scrape technique. Lab and c show other complementary and perfectly manufacturable alternative forms (13) and (14). Fig.8

[0057] It shows an overview of the parts and construction details of a right-handed model (R), and also shows a left-handed model marked (L).

[0058] The construction details of the model are described below with reference to the.

[0059] The part corresponding to the ring (1) uses a metal sheet that must maintain a balance between being sufficiently rigid on one hand, and malleable on the other (although the eventual use of some pliers type tool for fine adjustment may be necessary) to achieve what is explained in the Summary of the invention section.

[0060] The inventor of the present application, in prototypes, has opted for 0.5 mm stainless steel sheet with a chamfer (8) to adapt and protect the cuticle area, with optimal results. Another possible material is nickel, approximately 0.7 mm thick. 0.6 mm stainless steel provides great grip, but its customization requires skill and tools, although this may vary depending on the composition of the steel.

[0061] The Piece (2), which corresponds to the spike, if it is desired to have the asymmetric profile characteristic, must have a width of no less than 1.5 mm; it has already been shown that wider spikes actually provide better control.

[0062] However, for beginners and / or those who prefer a thinner thickness, this can be completely flat. In line with personal taste, any material can be used, but Ultex®, nylon, Lexan®, or any other modern acrylic is recommended, and even cellulose or delrin, although they have become obsolete for these uses. Alternatively, the lower part (6) can be grained or knurled to reduce the slippage caused by sweat on the index and middle fingers placed there.

[0063] The two pieces will be assembled by rivets (3), resulting in a rigid unit, and the ring piece (1) may optionally be embedded in the spike (2), as is the case in the drawings accompanying the prototype.

[0064] You can see the cut (4) designed for complementary grip and / or pick scrape technique, and the curved carving (and subsequent polishing) on ​​the upper part of the pick (5) in contrast to the lower, flat part (6).

[0065] In any case, it is essential to chamfer (7) the entire piece, except in the cut (4), since in order to enhance the “scraping” effect it is preferable to avoid this chamfer here.

[0066] However, in order to meet and satisfy personal tastes and / or preferences, and extending the range of models, remember that this last cut can either be omitted to leave the pick in the shape of the standard lab model 351 (13), or replicate it on the opposite side, c, obtaining another alternative shape (14), although less common, also available on the current market.

[0067] The specific meaning of the numbers and acronyms is specified below. It should be noted that the acronyms reproduced here that indicate dimensions or angles refer to magnitudes of the proposed model, while those marked with a prime (') in the drawings refer to conventional thumbpick models of the current state of the art, for the purpose of making the relevant comparisons:

[0068] t : thumb (from English thumb).

[0069] i : index finger (from English index).

[0070] m : middle finger (from English middle).

[0071] s : rope (from English string).

[0072] d: distance from the outer edge of the thumb (10) to the tip (11) of the pick.

[0073] α : angle provided by the spring effect of the assembly when attacking the rope upwards.

[0074] x: transverse axis with respect to the thumb on which the pick remains at rest.

[0075] β: angle formed between the pick and the strings that can be covered with a single movement.

[0076] h: distance between strings that can be covered in a single movement.

[0077] γ : angle of attack on the string with respect to the longitudinal axis of the thumb.

[0078] z: longitudinal axis of the thumb, reference for the angle (γ).

[0079] 1: metal ring for holding the thumb.

[0080] 2 : pick itself, part of the set that attacks the string.

[0081] 3 : rivets.

[0082] 4: cut made in plan to the piece (2).

[0083] 5: upper part of the piece (2) carved in a curve.

[0084] 6 : bottom of the flat piece (2).

[0085] 7: beveling the contour of the piece (2).

[0086] 8: chamfer made on the ring (1) to protect the cuticle.

[0087] 9: pivot point of the piece (1), vertex of the angle (α).

[0088] 10: outer edge of the thumb, where the measurement (d) begins.

[0089] 11: tip of the pick, where the measure (d) ends.

[0090] 12: zenith of the upper part (5) of the piece (2), point of maximum thickness.

[0091] 13: variant of the piece (2) in triangular shape, without the cut (4).

[0092] 14: variant of piece (2) with two symmetrical cuts in plan.

[0093] ah: area of ​​the thumb that causes artificial harmonics.

[0094] A couple of concepts used in this application are glossed here, concepts created here expressly for the sole purpose of facilitating the general understanding of the invention, and which do not necessarily correspond to those used outside this context in everyday speech:

[0095] Standard flat pick: a pick that replicates the Model 351 cataloged by the manufacturer D'Andrea in 1922, or similar, and which has de facto become the most reproduced pick par excellence. It is the one reproduced in the a.

[0096] Conventional thumbpick: This is a pick that, regardless of the material it's made of, respects the basic form of Beauchamp's invention (patent 1930-US1787136). It's basically a strip with one end shaped like a pick to attack the string, and the other end coiled into a ring to accommodate the thumb. This is the one reproduced in the lab.

[0097] The patents cited in the Prior Art section are listed here.

[0098] Patent 1930-US1787136

[0099] Patent 1996-US5509341

[0100] Patent 2021-US11087724B1

[0101] Patent 2005-US6949700B1

[0102] Patent 1977-US4020732

[0103] Listed here are some articles with their corresponding web links that deal with the consideration of the D'Andrea model 351 as standard:

[0104] https: / es.wikipedia.org / wiki / P%C3%BAa_(guitar)

[0105] https: / www.youtube.com / watch?v=WoZjtBXOdPM

Claims

Thumb pick for string musical instruments, attachable to the thumb and in versions for right-handed (R) or left-handed (L), being of the type that have a ring added to the flat pick itself that is inserted into the thumb (t), and which is mainly characterized by having an effective distance (d) between the end of the ring coinciding with the outer edge of the thumb (10) and the tip (11) of the pick of between 12 and 20 mm, which increases the leverage exerted when attacking the strings, generating a spring effect by generating an angle (α) with respect to the transverse axis (x) of the thumb by the fastening ring (1) constructed of sheet metal; the assembly is made up of two pieces, said ring (1) and the pick (2) itself (2), joined together by rivets (3) or any other fixing mechanisms. Thumb pick (R and L), according to claim 1, characterized by having an adjustable thumb-holding ring made of a metal sheet and allowing adjustment of the angle (γ) between the plane of the pick and the longitudinal axis of the thumb (z) in order to promote an attack as perpendicular as possible between the pick (2) and the string (s). Thumb pick (R and L), according to claim 1, wherein the part of the pick (2) that is responsible for attacking the string has an asymmetric profile, curved in its upper part (5) from the tip (11) of the pick to its zenith (12), while the lower part (6) remains flat, being beveled (7) in its contour. Thumb pick (R and L), according to claim 1, wherein the part of the pick (2) that is responsible for attacking the string is made of nylon, delrin, Ultem®, Lexan®, cellulose, carbon fiber, acrylic polymers, or any other plastic. Thumb pick (R and L), according to claim 1, characterized by having an adjustable thumb-holding ring made from a metal sheet between 0.3 and 0.8 mm. Thumb pick (R and L), according to claim 1, wherein the thumb-fastening ring is adjustable and customizable to the performer's physiognomy and technical preferences in the performance, acting in the adjustment of said ring on the shape and the force of the tightening of the ring itself (1). Thumb pick (R and L), according to claim 1, wherein the thumb-holding ring is adjustable and customizable to the performer's physiognomy and technical preferences in the performance, acting on the precise adjustment of said ring on the parameter of the distance (d) from the outer edge of the thumb (10) to the tip (11) of the pick. Thumb pick (R and L), according to claim 1, wherein the part of the pick (2) that is responsible for attacking the string has a triangular shape with an unbeveled cut (4) on the side closest to the tip of the thumb parallel to the axis of the pick in plan. Thumb pick (R and L), according to claim 1, wherein the optimal distance (d) between the outer edge of the thumb (10) and the tip of the pick (11), is 15mm. Thumb pick (R and L), according to claim 1, characterized by having an adjustable thumb-holding ring made of a metal sheet whose thickness for optimal results is 0.5 mm. Thumb pick (R and L), according to claim 1, wherein the part of the pick (2) that is responsible for attacking the string has a triangular shape (13). Thumb pick (R and L), according to claim 1, wherein the part of the pick (2) that is responsible for attacking the string has a triangular shape with two cuts parallel to the axis of the pick in plan (14); the first (4) on the side closest to the tip of the thumb and the second symmetrically on the other side.

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