(12) United States Patent (10) Patent No.: US 7,973,226 B2 Towner (45) Date of Patent: Jul

Total Page:16

File Type:pdf, Size:1020Kb

(12) United States Patent (10) Patent No.: US 7,973,226 B2 Towner (45) Date of Patent: Jul US007973226B2 (12) United States Patent (10) Patent No.: US 7,973,226 B2 TOWner (45) Date of Patent: Jul. 5, 2011 (54) VIBRATO RETROFIT STRING TENSION KIT (52) U.S. Cl. ..................................................... 84/312 R (58) Field of Classification Search ................ 84/312 R, (76) Inventor: Christian James Towner, San Diego, 84/313, 289, 299, 307 CA (US) See application file for complete search history. (*) Notice: Subject to any disclaimer, the term of this (56) References Cited patent is extended or adjusted under 35 U.S.C. 154(b) by 54 days. U.S. PATENT DOCUMENTS 6,034,311 A * 3/2000 Fisher, IV ....................... 84/313 (21) Appl. No.: 12/471,009 2010.001 1936 A1 1/2010 Dennis ............................ 84/313 * cited by examiner (22) Filed: May 22, 2009 Primary Examiner — Kimberly R Lockett (65) Prior Publication Data (57) ABSTRACT US 2010/O2941 10 A1 Nov. 25, 2010 Aguitar sting tension device for an electrical guitar retrofitted Related U.S. Application Data with a vibrato unit to prohibit displacement of the strings on the bridge of the guitar consisting of a rotatable string reten (60) Provisional application No. 61/055,711, filed on May tion bar, two rotatable connection arms, a pivotal anchor 23, 2008. collar with recessed aperture; and a mounting adapter to affix the vibrato unit to the guitar. (51) Int. Cl. GIOD3/14 (2006.01) 9 Claims, 3 Drawing Sheets U.S. Patent Jul. 5, 2011 Sheet 1 of 3 US 7,973,226 B2 F.G. 1 U.S. Patent Jul. 5, 2011 Sheet 2 of 3 US 7,973,226 B2 U.S. Patent Jul. 5, 2011 Sheet 3 of 3 US 7,973,226 B2 ar.A.AMA - - - - - - - - US 7,973,226 B2 1. 2 VIBRATO RETROFIT STRING TENSION KIT retention bar, two pivotal attachment collars on the other end of the support arms and two connection bolts to affix the TECHNICAL FIELD attachment collars to the electric guitar. In an alternate con struction, the retention bar and Support arms are fabricated as The present invention relates to optional effects for elec one piece. trical guitars, in particular, the device allows for retrofitting a In another embodiment a mounting bracket is utilized to vibrato unit to an electric guitar. affix a vibrato unit to the electric guitar including an attach ment means. BACKGROUND OF THE INVENTION In yet another embodiment, a kit combining the electric 10 guitar string tension device together with a mounting bracket Electric guitars are sometimes manufactured with an and assorted bolts, nuts and Screws is contemplated. optional vibrato unit to provide a mechanism that allows the guitarist to stretch or loosen the guitar Strings while the guitar DESCRIPTION OF THE DRAWINGS is being played. This provides a fanciful variation to the Sounds of the guitar by allowing the guitar player to alter the 15 FIG. 1 is a perspective view of the assembled guitar string pitch by moving the lever mechanism of the vibrato unit. In tension device; the past, if a guitar owner wanted a guitar with a vibrato unit, FIG. 2 is a perspective view of an electric guitar retrofitted the owner would have to procure a guitar that was manufac with a vibrato unit with the string tension device installed in tured with such a vibrato. accordance with this invention; A guitar owner may attempt to mount a vibrato unit by FIG. 3 is a partial perspective view of the guitar shown in drilling holes in the deck of the guitar to screw on a vibrato FIG. 2 indicating how the components of the string tension unit. However this could affect the tone of the instrument and device are assembled; could also affect the structural integrity of the deck, especially FIG. 4 is a plan view of the string tension device; in hollow bodied guitars, which have thin wooden decks. FIG. 5 is a full side view of the string tension device shown Additional holes in the guitar may also affect the value of the 25 in FIG. 4; and guitar. A guitar owner did not have a commercially available FIG. 6 is a cross-sectional view along line 6-6 of FIG. 4. option to effectively add Such a vibrato mechanism to an existing electric guitar. DETAILED DESCRIPTION OF THE INVENTION On an ordinary guitar, the Strings are held in place on the face of the guitar at the tailpiece. To retrofita vibrato unit onto 30 Unless defined otherwise, all terms used herein have the an electric guitar, the existing tailpiece, aft of the bridge, must same meanings as are commonly understood by one of skill in be removed to accommodate the installation. This because the art to which this invention belongs. All patent, patent the vibrato unit would then serve to hold in place the end of applications and publications referred to throughout the dis the strings. The removal of the tailpiece typically leaves either closures herein are incorporated by reference in their entirety. mounting bolts sticking up from the face of the guitar or holes 35 In the event that there is a plurality of definitions for a term in the deck. This is cosmetically degrading and affects the herein, those in this section prevail. value of the guitar. The term “attachment means' as used herein refers to a Also, the substitution of the vibrato unit for the tailpiece means for securely holding one component to another by a typically alters the length of the strings between the bridge variety of methods known by one skilled in the art such as for and the terminal attachment point. For hollow bodied guitars, 40 example bolts and nuts to attach a vibrato unit to a mounting the length of the strings is greater with the vibrato unit than bracket. with the tailpiece. The strings also approach the bridge from The term “affixed' as used herein refers to a means for there connection with the vibrato at a lesser angle than with fastening or connecting, permanently or reversibly, one ele the tailpiece. This results in lesser down force or tension, ment of the invention to another element by a variety of which further results in problems keeping the strings in place 45 methods know by one skilled in the art such as a bolt securing on the bridge when the vibrato unit is activated. It also affects an annular collar onto a recessed threaded aperture on the face the action of the strings at the neck. The lesser angle further of a guitar. provides problems retaining the stings on the bridge when the The present invention of an electric guitar String tension guitar is being played. The present invention provides a device 30 contemplates a variety of device constructions means for maintaining the proper tension on the Strings with 50 including a retention bar 32 to rest on the guitar strings 16, the proper angle as well. two support arms 34 at each end of the retention bar 32, two Additionally, the removal of the tailpiece leaves either an pivotal attachment collars 36 on the other end of the support unsightly set of holes or studs on the face of the guitar where arms 34 and two connection bolts 38 to affix the attachment the tailpiece was connected. Leaving holes in the guitar face collars 36 to the guitar 10. will alter the tone of the instrument as well as provide an 55 The component in contact with the guitar strings 16 is the unsightly guitar. retention bar32. The retention bar32 is held rotatably in place Therefore, there exists a need to create a device that would against the Strings 16 by two support arms 34. In a preferred allow the retrofitting of a vibrato mechanism to an electric embodiment, the retention bar 32 is tubular and the support guitar that provides downward tension on the strings and arms 34 are rods. utilizes the former connection method of the discarded tail 60 The retention bar 32 should be slightly longer than the p1ece. distance between the first string on the guitar 10 and the last string as measured perpendicular to the length of the strings SUMMARY OF THE INVENTION 16 near the bridge of the guitar 12. The inside diameter of the retention bar 32 should be slightly greater than the outside The present invention provides an electric guitar string 65 diameter of the supportarms 34 to allow free rotational move tension device including a rotatable retention bar to rest on the ment of the retention bar 32 yet close enough to be secure and guitar strings, two rotatable Support arms at each end of the not allow excessive movement. US 7,973,226 B2 3 4 The retention bar 32 may be constructed from a variety of An affixing means is necessary to attach the string tension materials known to one skilled in the art that provides suffi device 30 to the electrical guitar 10. One skilled in the art cient strength and rigidity to prohibit excessive bending or would recognize that the optimal attachment method would flexing that may interfere with the operation of the string utilize the same connection system that was used to affix the tension device 30. For example, the retention bar 32 may be tailpiece to the guitar 10. Because the tailpiece is replaced by constructed of metal, polymer plastic or high-density poly the vibrato unit 20, the string tension device 30 could easily mer. A preferred material is metal tubing. adapt to the former connection. In one embodiment, the The support arms 34 may be constructed from solid rod attachment means would be connection bolts 38 that match material or hollow tubing material from a variety of materials the thread pattern of the former tailpiece connection 14.
Recommended publications
  • U.S.A. Retail Price List Prices Effective January 1, 2004
    U.S.A. Retail Price List Prices effective January 1, 2004 Suggested List Price Guitars (Price includes free standard case) 620 Deluxe bound body & neck, inlays, 21 fret, 2 pickups, wired for stereo 1299 620/12 Like 620 but with 12 strings 1419 650C "Colorado", 24 fret, solid body, 2 humbucking pickups, chrome parts, Jetglo finish only 1299 650D "Dakota", 24 fret, solid Walnut body, 2 humbucking pickups, chrome parts, natural oil finish 999 650S "Sierra", 24 fret, solid Walnut body, 2 humbucking pickups, gold parts, natural oil finish 1099 660 Charactered Maple body, checked binding, vintage pickups, wide neck, knobs, gold pickguard and 1879 nameplate, trapeze tailpiece 660/12 Like 660, but with 12 strings, 12 saddle bridge 1999 330 Thinline semi-acoustic, 24 fret, 2 pickups, dot inlays, mono 1419 340 Like 330 but with 3 pickups 1549 330/12 Like 330 but with 12 strings,"R" tailpiece 1529 340/12 Like 330/12 but with 3 pickups 1749 360 Deluxe thinline, semi-acoustic hollow body, inlaid neck, wired for stereo 1549 370 Like 360 but with 3 pickups 1699 360/12 Like 360 but with 12 strings 1669 370/12 Like 360/12 but with 3 pickups 1829 380L "Laguna", Walnut body, wide Maple fingerboard, 2 humbucking pickups, gold parts, oil finish 1699 380L PZ Like 380L but with additional piezo pickup under bridge, active electronic package 1999 C Series (Price includes free vintage reissue case) 325C58 “Hamburg”, 3 pickup, semi-hollow, gold pickguard, 21 fret, short scale, Kauffman Vib-rola (MG, JG only) 3199 325C64 “Miami”, 3 pickup, semi-hollow, white pickguard,
    [Show full text]
  • 2003 Epiphone Catalog Summer.Pdf
    CATALOG 2003 joe pass emperor II™ Authorized By & Designed In Cooperation with Joe Pass > When the late, great Joe Pass played the guitar, people listened. Pick up an Emperor II and you just might get a similar response! ™ emperor regent (Also available Left-Handed) > Huge body, huge sound, great personality. The Regent’s Spruce top and floating mini-humbucker make this guitar an out and out jazzer with sweet tone! One of the “100 Best Buys”Guitar Player, Nov, 1997 broadway™ > A big body for all occasions. Just like the Regent, but with twin humbuckers, 3-way switch, 2 volume and 2 tone controls. alleykat™ > If you’re looking for a guitar that’s as zephyr “blues” unique as you are, check out the AlleyKat. deluxe Like the FlameKat™ it features the Kat- > Based on the legendary 1949 Series small, semi hollow-body design. But Gibson ES-5, this big bodied this guitar features a Tune-o-matic bridge, blues machine is fitted with 3 StopBar tailpiece and a combination of a ’57 Alnico V P-90s, 3 volume Classic Humbucker in the bridge position and controls and 1 master tone a “New York” Mini humbucker in the neck control. Unlike the original position. The result is a guitar with great sus- however, the middle pickup tain, comfort and sound! Available in HS, TB is reverse polarity for and VS. hum-canceling tone! flamekat™ > One of our cooler Epiphone Designs! The ultimate road-rocker, equipped with 2 “New York” mini-humbuckers and now sporting a Licensed Bigsby Vibrato! With Dice knobs, Dice Inlay and Ebony finish with Flame decal..
    [Show full text]
  • 5.16 Patents Und Inventions
    5-208 5. Magnetic pickups 5.16 Patents und inventions 5.16.1 American Patents (selection) 1890 435679 Breed: the first guitar pickup? 1890!! 1927 1933299 Vierling: piano-pickup (PU) 1929 1839395 Kauffman: tremolo (vibrato-unit) 1929 1838886 Tuininga: violin-HB 1930 2027073 Vierling: piano-PU (see also 1933299) 1931 1906607 Jacobs: piano-PU 1931 1915858 Miessner: piano-PU 1931 1978583 Kentner: piano-PU 1934 1941870 Severy: synthesizer 1934 2020557 Loar: guitar with structure-borne-sound-PU 1934 2025875 Loar: guitar with structure-borne-sound-PU 1934 2089171 Beauchamp: Rickenbacker Frying Pan, Horseshoe-PU 1935 2026841 Lesti: PU w/out permanent magnet 1935 2119584 Knoblaugh: stacked HB w/out permanent magnet 1936 2087106 Hart/Fuller (Gibson): Charlie-Christian-PU 1936 2170294 Dopyera: National Hawaiian guitar, Blade-PU 1936 2152783 Beauchamp: Rickenbacker Electro Spanish Guitar, Horseshoe-PU 1937 2175325 Sunshine/Epiphone: "Oblong Pickup" 1938 2145490 Miller (Gibson): further development of 2087106 1938 2241911 Kauffman: motorized tremolo for steel-guitar 1939 2262335 Russell: HB w/horseshoe-magnet 1940 2261358 Fuller (Gibson): retrofit-PU 1940 2294861 Fuller (Gibson): retrofit-PU 1944 2455575 Fender/Kauffman: Solidbody guitar w/PU 1946 2455046 DeArmond: PU "Type-1000" 1948 2542271 Alvarez: Piano-HB 1948 2567570 McCarty (Gibson): PU within the pickguard 1948 2686270 Ayres: piano-HB 1949 2557754 Morrison: Solidbody guitar w/PU potted in wax, 6 cylindrical magnets 1950 2573254 Fender: Telecaster-precursor 1950 2612072 DeArmond: PU w/6 adjustable
    [Show full text]
  • Adrian Clarke 306164981(SID)
    DIGITAL AUDIO SYSTRMS: FINAL REVIEW Adrian Clarke 306164981(SID) Digital Audio Systems, DESC9115, Semester 1 2012 Graduate Program in Audio and Acoustics Faculty of Architecture, Design and Planning, The University of Sydney Vibrato as an instrumental effect performed by musicians has been around for centuries in various genres to help musicians and composers add warmth and expression to a sound. During the 1950’s came the development of electronic analogue vibrato effects units, part of a greater family of modulated delay based effects that would follow, such as chorus and flanging [1]. With the technological advances of solid‐state circuitry and digital signal processing (DSP) the implementation of vibrato as an effect has continued to evolve. Vibrato can be defined as a periodic variation in time of pitch, above and below the fundamental frequency of a sound [2]. The two fundamental parameters used to control a vibrato effect are the delay length (this determines the amount of pitch variation) and the rate at which the pitch is varied. The delay length (often referred to as depth) is typically an average of between 5‐10ms causing a variation of less than a semitone. The rate of vibrato is the frequency of the low frequency oscillator (LFO) used to modulate the delay length and is typically 5‐ 14Hz [3]. Problem Description Whilst depth and rate are the fundamental elements that go into creating a vibrato effect there are other ways we can modify the sound to get different results for different purposes. A limitation of most other vibrato effects, whether digital or analogue, is that they only offer control of these parameters.
    [Show full text]
  • USA Retail Price List
    U.S.A. Retail Price List Prices effective January 1, 2001 Suggested List Price Guitars (Price includes free standard case) 620 Deluxe bound body & neck, inlays, 21 fret, 2 pickups, wired for stereo 1299 620/12 Like 620 but with 12 strings 1419 650A "Atlantis", 24 fret, solid body, 2 humbucking pickups, chrome pickplate, vintage Turquoise only 1299 650C "Colorado", 24 fret, solid body, 2 humbucking pickups, chrome parts, Jetglo finish only 1299 650D "Dakota", 24 fret, solid Walnut body, 2 humbucking pickups, chrome parts, natural oil finish 999 650F "Frisco", like 650S except solid African Vermilion body and clear high gloss finish 1419 650S "Sierra", 24 fret, solid Walnut body, 2 humbucking pickups, gold parts, natural oil finish 1099 660 Charactered Maple body, checked binding, vintage pickups, wide neck, knobs, gold pickguard and 1879 nameplate, trapeze tailpiece 660/12 Like 660, but with 12 strings, 12 saddle bridge 1999 330 Thinline semi-acoustic, 24 fret, 2 pickups, dot inlays, mono 1419 340 Like 330 but with 3 pickups 1549 330/12 Like 330 but with 12 strings,"R" tailpiece 1529 340/12 Like 330/12 but with 3 pickups 1749 360 Deluxe thinline, semi-acoustic hollow body, inlaid neck, wired for stereo 1549 370 Like 360 but with 3 pickups 1699 360/12 Like 360 but with 12 strings 1669 370/12 Like 360/12 but with 3 pickups 1829 380L "Laguna", Walnut body, wide Maple fingerboard, 2 humbucking pickups, gold parts, oil finish 1699 380L PZ Like 380L but with additional piezo pickup under bridge, active electronic package 1999 C Series (Price
    [Show full text]
  • Logic Studio Effects Copyright © 2009 Apple Inc
    Logic Studio Effects Copyright © 2009 Apple Inc. All rights reserved. Note: Because Apple frequently releases new versions and updates to its system software, applications, and Your rights to the software are governed by the Internet sites, images shown in this manual may be slightly accompanying software license agreement. The owner or different from what you see on your screen. authorized user of a valid copy of Logic Studio software may reproduce this publication for the purpose of learning Apple to use such software. No part of this publication may be 1 Infinite Loop reproduced or transmitted for commercial purposes, such Cupertino, CA 95014 as selling copies of this publication or for providing paid 408-996-1010 for support services. www.apple.com The Apple logo is a trademark of Apple Inc., registered in Apple, the Apple logo, GarageBand, Logic, Logic Studio, the U.S. and other countries. Use of the “keyboard” Apple Macintosh, MainStage, and WaveBurner are trademarks logo (Shift-Option-K) for commercial purposes without of Apple Inc., registered in the U.S. and other countries. the prior written consent of Apple may constitute trademark infringement and unfair competition in violation Finder is a trademark of Apple Inc. of federal and state laws. Other company and product names mentioned herein Every effort has been made to ensure that the information are trademarks of their respective companies. Mention of in this manual is accurate. Apple is not responsible for third-party products is for informational purposes only printing or clerical errors. and constitutes neither an endorsement nor a recommendation. Apple assumes no responsibility with regard to the performance or use of these products.
    [Show full text]
  • Frying Pan 69
    This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. GEORGE BEAUCHAMP AND THE RISE OF THE ELECTRIC GUITAR UP TO 1939 Matthew William Hill PhD The University of Edinburgh 2013 Declaration I declare that this thesis is entirely my own work. Matthew William Hill ABSTRACT This thesis examines the rise of the electric guitar in the United States – arguably the most iconic and successful musical instrument of the 20th century – and the role of George Beauchamp in its invention and development. It focuses on Beauchamp's invention of the electromagnetic pickup, which is the component that makes an electric guitar an electric guitar. The research is based on examination of surviving instruments as well as archival research. An extensive contextual background is given regarding the historical development of electrical musical instruments in general and electric and electrified stringed instruments in particular.
    [Show full text]
  • E-Guitar KIT „Strat“-Like: Facts & Manual
    Tenayo TK-EG-ST1 E-Guitar KIT „Strat“-like: Facts & Manual Text und Fotos von Michael Koch At all: Electric guitars were built to play loud and hard!!! And finally acoustic guitars were much too faint to get through really within bigger ensembles or even orchestras. The first acceptable representative electric guitars were built by Adolph Rickenbacker and George Beauchamp at the beginning of the 30s in the last century. But the very first serial model with a semi hollow body was constructed and distributed by the US American company GIBSON around 1936. The still very famous and by now deceased “Les Paul” followed them up around 1941 with his first Solidbody version of the electric guitar. It was an instrument with a massive body and neck through construction which was able to diminish possible feedbacks the semi hollow body guitars produced very often quite well. From this time on the triumphal procession of the electric guitar couldn’t have been stopped anymore. Only a few decades later the position of modern Rock- and Jazz-Guitarist should have been compared with the same star violinist had until this time in orchestras. Great musicians like Hendrix helped pushing the electric guitar for their final breakthrough in the mid of the 1960s. He was followed up by more and more other unforgettable guitar heroes and virtuous players like Eric Clapton (Cream), Jimmy Page (Led Zeppelin), Angus Young (AC/DC), Eddie Van Halen (Van Halen), Robert Fripp (King Crimson), Alex Lifeson (Rush), Brian May (Queen), David Gilmour (Pink Floyd), Steve Howe (Yes), Ritchie Blackmore (Deep Purple), Steve Vai (Frank Zappa & Solo), Joe Satriani (Solo), Adrian Belew (David Bowie, Talking Heads, King Crimson), Vernon Reid (Living Colour) and much more… But we won’t waste too much time with things like this because we’d like to assemble our own electric guitar.
    [Show full text]
  • Gibson Vs. Fender: Innovation Paths in the Early Electric Guitar Industry (1945–1984)
    XXVIIe Conférence Internationale de Management Stratégique Gibson vs. Fender: Innovation paths in the early Electric Guitar Industry (1945–1984) Rayna, Thierry École Polytechnique, i3-CRG (UMR CNRS 9217) [email protected] Striukova, Ludmila Skema Business School, Université Côte d’Azur [email protected] Résumé : This article investigates the two radically different innovation paths chosen by Gibson and Fender, the two major electric guitar manufacturers, during the period 1945–1984. The beginning of this period corresponds both to the entrance of Fender in a market then dominated by Gibson and to the birth of the electric guitar. The article shows that the period 1945–1958 is one of intensive innovation, albeit of a different type, from both manufacturers. Fender’s innovation was inspired by engineering and electronics, while Gibson’s was rooted in craftsmanship and tradition. These very few years, which defined what electric guitar is, were then followed by a period of innovation deadlock (1958–1984). This article demonstrates that this was not due to a lack of innovative activities, but, instead, to a growing misunderstanding of consumer needs and to sterile attempts to capture each other’s market share. Mots-clés : radical innovation, market entry, engineering, craftsmanship, trajectories 1 Montpelier, 6-8 juin 2018 XXVIIe Conférence Internationale de Management Stratégique INTRODUCTION Although electric guitar has, arguably, been for more than half a century the most famous icon of popular music and companies manufacturing them have demonstrated a rather unusual longevity and leadership (Gibson, one of the two market leaders was founded in 1894), little attention (if any) has been given in the literature to this industry.
    [Show full text]
  • Guitar Amp and FX Modeling Plug-In for Digidesign® Pro Tools® and VST® Platforms User Manual Version 1.0
    Guitar Amp and FX modeling plug-in For Digidesign® Pro Tools® and VST® platforms User Manual version 1.0 Guitar Amp and FX modeling plug-in For Digidesign® Pro Tools® and VST® platforms User Manual version 1.0 4 PLEASE NOTE: AMPLITUBE IS A TRADEMARK OF IK MULTIMEDIA. ALL OTHER PRODUCT NAMES AND TRADEMARKS ARE THE PROPERTY OF THEIR RESPECTIVE OWNERS, WHICH ARE IN NO WAY ASSOCIATED OR AFFILIATED WITH IK MULTIMEDIA. PRODUCT NAMES ARE USED SOLEY FOR THE PURPOSE OF IDENTIFYING THE SPECIFIC PRO- DUCTS THAT WERE STUDIED DURING IK MULTIMEDIA's SOUND MODEL DEVE- LOPMENT AND FOR DESCRIBING CERTAIN TYPES OF TONES PRODUCED WITH IK MULTIMEDIA's DIGITAL MODELING TECHNOLOGY. USE OF THESE NAMES DOES NOT IMPLY ANY COOPERATION OR ENDORSEMENT. 5 I Contents II Interface III License and copyrights Chapter 1 What is AmpliTube™? 1.1 Description Chapter 2 Requirements 2.1 System Requirements Pro Tools system (LE, TDM) Mac 2.2 System Requirements VST system Mac/Win Chapter 3 Installation and Authorization 3.1 Installation 3.2 Authorization Chapter 4 Using AmpliTube 4.1 Connecting your Guitar to your a computer 4.2 Input Level – optimal setting 4.3 AmpliTube signal path and effects chaining 4.4 Stomp Module 4.5 Amp Module 4.6 Post FX Module 4.7 Presets 4.8 Recording/Bouncing in Pro Tools 4.9 Recording/Bouncing in VST (Cubase/Logic) 4.10 Automating parameters in ProTools 4.11 Automating parameters in VST Chapter 5 Stomp Module 5.1 Wah-Wah 5.2 Delay 5.3 Chorus 5.4 Flanger 5.5 Overdrive 6 I - Contents Chapter 6 Amp Module 6.1 Pre Model 6.2 EQ Model 6.3 Amp Model 6.4
    [Show full text]
  • E-Guitar KIT „BCR“-Like: Facts & Manual
    Tenayo TK-EG-HM1 E-Guitar KIT „BCR“-like: Facts & Manual Text and photos: Michael Koch At all: Electric guitars were built to play loud and hard!!! And finally acoustic guitars were much too faint to get through really within bigger ensembles or even orchestras. The first acceptable representative electric guitars were built by Adolph Rickenbacker and George Beauchamp at the beginning of the 30s in the last century. But the very first serial model with a semi hollow body was constructed and distributed by the US American company GIBSON around 1936. The still very famous and by now deceased “Les Paul” followed them up around 1941 with his first Solidbody version of the electric guitar. It was an instrument with a massive body and neck through construction which was able to diminish possible feedbacks the semi hollow body guitars produced very often quite well. From this time on the triumphal procession of the electric guitar couldn’t have been stopped anymore. Only a few decades later the position of modern Rock- and Jazz-Guitarist should have been compared with the same star violinist had until this time in orchestras. Great musicians like Hendrix helped pushing the electric guitar for their final breakthrough in the mid of the 1960s. He was followed up by more and more other unforgettable guitar heroes and virtuous players like Eric Clapton (Cream), Jimmy Page (Led Zeppelin), Angus Young (AC/DC), Eddie Van Halen (Van Halen), Robert Fripp (King Crimson), Alex Lifeson (Rush), Brian May (Queen), David Gilmour (Pink Floyd), Steve Howe (Yes), Ritchie Blackmore (Deep Purple), Steve Vai (Frank Zappa & Solo), Joe Satriani (Solo), Adrian Belew (David Bowie, Talking Heads, King Crimson), Vernon Reid (Living Colour) and much more… But we won’t waste too much time with things like this because we’d like to assemble our own electric guitar.
    [Show full text]
  • Download Working Paper 68
    DIME Working Papers on INTELLECTUAL PROPERTY Sponsored by the Dynamics of Institutions and 6th Framework Programme Markets in Europe is a network RIGHTS of the European Union of excellence of social scientists in Europe, working on the eco- nomic and social consequences http://www.dime-eu.org/working-papers/wp14 of increasing globalization and the rise of the knowledge economy. http://www.dime-eu.org/ Emerging out of DIME Working Pack: ‘The Rules, Norms and Standards on Knowledge Exchange’ Further information on the DIME IPR research and activities: http://www.dime-eu.org/wp14 This working paper is submitted by: Thierry Rayna* and Ludmila Striukova** *Imperial College London Email: [email protected] **University College London Email: [email protected] Engineering vs. craftsmanship: Innovation in the electric guitar industry (1945–1984) This is Working Paper No 68 (May 2008) The Intellectual Property Rights (IPR) elements of the DIME Network currently focus on research in the area of patents, copy- rights and related rights. DIME’s IPR research is at the forefront as it addresses and debates current political and controversial IPR issues that affect businesses, nations and societies today. These issues challenge state of the art thinking and the existing analytical frameworks that dominate theoretical IPR literature in the fields of economics, management, politics, law and regula- tion- theory. Engineering vs. Craftsmanship: Innovation in the Electric Guitar Industry (1945–1984) Thierry Rayna, Imperial College London Ludmila Striukova, University College London 11th November 2007 Introduction The topic of innovation has attracted a lot of attention in the past several decades.
    [Show full text]