Title: Method and apparatus for fully adjusting and providing tempered intonation for stringed, fretted musical instruments, and making adjustments to the rule of 18
Abstract: The present invention involves a tempering formula which utilizes specific pitch offsets, which when applied to the guitar, result in extraordinarily pleasing intonation.
Patent Number: 6,870,084 Issued on 03/22/2005 to Feiten, et al.
| Inventors:
|
Feiten; Howard B. (901 S. Hudson Ave., Los Angeles, CA 90019);
Back; Gregory T. (16125 Sunset Blvd. #2, Pacific Palisades, CA 90272)
|
| Appl. No.:
|
700698 |
| Filed:
|
November 4, 2003 |
| Current U.S. Class: |
84/312R; 84/454; 84/455 |
| Intern'l Class: |
G10D 003//14 |
| Field of Search: |
84/312 R,454,455
|
References Cited [Referenced By]
U.S. Patent Documents
Primary Examiner: Hsieh; Shih-Yung
Attorney, Agent or Firm: Beuerle; Stephen C.
Procopio Cory Hargreaves & Savitch LLP
Parent Case Text
CROSS-REFERENCE TO RELATED APPLICATIONS
This is a continuation application under 37 CFR .sctn. 1.53(b) of prior
application Ser. No. 10/100,815, filed on Mar. 19, 2000, which issued on
Nov. 4, 2003, as U.S. Pat. No. 6,642,442, which is a continuation of prior
application Ser. No. 09/491,715, filed on Jan. 27, 2000, which issued on
Mar. 19, 2002, as U.S. Pat. No. 6,359,202, which is a continuation of
prior application Ser. No. 09/320,122, filed on May 25, 1999, which issued
on Nov. 7, 2000, as U.S. Pat. No. 6,143,966, which is a continuation of
prior application Ser. No. 08/886,645, filed on Jul. 1, 1997, which issued
on Sep. 21, 1999, as U.S. Pat. No. 5,955,689, which is a
continuation-in-part of prior application Ser. No. 08/698,174, filed on
Aug. 15, 1996, which issued on Sep. 29, 1998, as U.S. Pat. No. 5,814,745.
Claims
What is claimed is:
1. A method of intonating and tuning a stringed musical instrument having a
body, strings, and frets, the method comprising placing the nut at a
distance away from the first fret, said distance in the range of 1% to 10%
shorter than the "rule of 18" standard; and tempering the strings
according to a Feiten Temper Tuning Table with a specific pitch offset
formula where for at least some of the strings pitch deviations other than
an octave relationship exist between a pitch at the open position and a
pitch at the 12th fret.
2. The method of claim 1, wherein the strings include interior strings G, D
and A, and tempering includes tempering at least one of the interior
strings at the open position or 12th fret to a specific pitch offset
formula in a range substantially equivalent to -02 to +05 cents when
measured with an equal tempered tuner.
3. A method of intonating and tuning a stringed musical instrument having a
body, strings including interior strings G, D and A, and frets, the method
comprising placing the nut at a distance away from the first fret, said
distance in the range of 1% to 10% shorter than the "rule of 18" standard;
and tempering at least one of the interior strings at an open position or
12th fret to a specific pitch offset formula in a range substantially
equivalent to -02 to +05 cents when measured with an equal tempered tuner.
4. A method of intonating a guitar or other string fretted musical
instrument having a neck with a nut at its distal end, a body having a
bridge, and strings stretched from the nut to the bridge, the strings
including interior strings G, D and A, the method comprising placing the
nut at a distance away from the first fret, said distance in the range of
1% to 10% shorter than the "rule of 18" standard; and intonating the
interior strings so that they result in being sharp in relation to the
open string according to a specific pitch offset formula in a range
substantially equivalent to +01 to +05 cents when measured with an equal
tempered tuner.
Description
FIELD OF THE INVENTION
The field of invention is adjustable guitar structures and their
construction, as well as methods to accurately intonate stringed, fretted
musical instruments, especially acoustic and electric guitars.
BACKGROUND OF THE INVENTION
The six-string acoustic guitar has survived many centuries without much
alteration to its original design. Prior to the present invention, one
very important aspect of acoustic guitars that has been overlooked is
proper intonation of each string--defined as adjusting the saddle
longitudinally with the string until all of the notes on the instrument
are relatively in tune with each other. Traditional methods of acoustic
guitar construction intonate the high and low E strings which are
connected to the bridge with a straight nonadjusting saddle. The other
four strings are either close to being intonated or, as in most cases,
quite a bit out of intonation.
Historically, discrepancies in intonation were simply accepted by the
artist and the general public, as it was not believed that perfect or
proper intonation on an acoustic guitar was attainable. The artist
accepted this fact by playing out of tune in various positions on the
guitar, or developed a compensating playing technique to bend the strings
to pitch while playing, which was difficult and/or impossible to do.
Particularly in a studio setting, the acoustic guitar must play in tune
with precisely intonated instruments and the professional guitarist cannot
have a guitar that is even slightly off in intonation.
If, for example, the weather or temperature changes, the guitar string
gauge is changed, string action (height) is raised or lowered, the guitar
is refretted, or a number of any other conditions change, the guitar must
be re-intonated. This especially plagues professional musicians who
frequently travel or tour giving concerts around the country in different
climatic zones. Such travel causes guitars to de-tune and spurs the need
for adjustable intonation. Airplane travel, with the guitar being
subjected to changes in altitude and pressures, exacerbates these
problems. Accordingly, adjustability of intonation is desirable due to the
many factors which seriously effect the acoustic guitar. Yet, most
acoustic guitar companies still use the original nonadjustable single
saddle.
In one aspect of the invention, the fully adjustable acoustic guitar bridge
claimed herein is the only system known to the inventors that allows for
continuous fully adjustable intonation of each string without sacrificing
the sound of the instrument. Thus, there has been a need for the improved
construction of adjustable intonation apparatus and methods to properly
intonate acoustic guitars.
Attempts to properly intonate acoustic guitars have been made without
success. In the 1960's, attempts were made by Gibson.RTM. with the
Dove.RTM. acoustic guitar by putting a so called Nashville Tune-O-Matic
bridge.RTM. on the acoustic guitar. The Tune-O-Matic was designed for
electric guitars and although it theoretically allowed the acoustic guitar
to be intonated, the electric guitar metal bridge destroyed the acoustic
tone and qualities of the acoustic guitar. Accordingly, these guitars were
believed to have been discontinued, or have not been accepted in the
market, at least by professional guitar players. In the 1970's, a
compensated acoustic guitar bridge was developed which cut the saddle into
two or three sections and intonated the guitar strings individually with
two, three, or four strings on each saddle. However, this method is not
individually and continuously adjustable and thus has the major drawbacks
listed above. It is important to note that traditional electric guitar
bridges either have an adjustment screw running through the metal saddle,
with the screw connected at both ends of the bridge (Gibson Tune-O-Matic),
or springs loaded on the screw between the saddle and the bridge to help
stabilize the saddle (as on a Stratocaster electric guitar). The above
construction is not adaptable to acoustic guitars. On an acoustic guitar,
if either the screw is connected at both ends of the bridge, or a spring
is placed between the saddle and the screw, the saddle will be restricted
in its vibration, thereby choking off or dampening the string vibration,
resulting in lack of sustain (duration of the note's sound), or no tone or
acoustic quality.
Additionally, typically, electric guitar bridges are not transferrable to
acoustic guitars because electric guitar bridges are constructed of metal,
which produces a bright tone with the electric guitar strings (wound steel
as opposed to the acoustic guitar's wound phosphor bronze strings or
nylon). The saddles on an electric guitar bridge are fixed (springs or the
adjustment bolt connected at both ends of the bridge) since the pickups
(guitar microphones) are located between the bridge and the neck and the
electric guitar does not rely on an acoustic soundboard to project the
sound. The electric guitar strings simply vibrate between two points and
the vibrations are picked up by the electric guitar pickups.
The saddles for the acoustic guitar bridge typically cannot be made of
metal (steel, brass, etc.). The acoustic guitar relies on the string
vibrations to be transmitted from the saddles to the base of the bridge.
The vibrations go from the bridge to the guitar top (soundboard) and on
acoustic/electric guitars to the pickups; either internal under the bridge
and/or connected against the soundboard to pickup the soundboard's
vibrations. The saddle must be constructed of an acoustically resonant
material (bone, phenolic, ivory, etc.) to transmit the string vibrations
to the base of the bridge. Metal saddles would dampen these vibrations,
and the acoustic guitar would produce a thin, brittle tone with very
little or no sustain of the notes being played.
One aspect of the claimed invention solves these problems. The saddle
capture has a slight bit of slop or looseness in its threading with the
adjustment bolt. While round holes with clearance will work, the preferred
hole is oval allowing maximum up and down freedom of movement. The saddle
must have this small bit of freedom to vibrate in order to transmit string
vibration into clear, full bodied tones that will ring and sustain through
the projection of the acoustic guitars soundboard and/or internal pickup.
In another embodiment (FIG. 6D), the set screw provides additional
pressure on the saddle, eliminating any tendency of the saddle to "float"
on the bridge base, providing even more sound transfer to the soundboard.
Another aspect of the present invention relates to making adjustments to
the so-called Rule of 18. This aspect applies not only to acoustic
guitars, but to electric guitars also. In fact, this aspect applies to any
stringed instrument having frets and a nut, wherein placement of the nut
has been determined by The Rule Of 18. The nut is defined as the point at
which the string becomes unsupported in the direction of the bridge at the
head stock end of the guitar.
After further research into the design flaw in the Rule of 18 as regards
nut placement as set forth in U.S. Pat. No. 5,404,783 and in application
Ser. No. 08/376,601, it became apparent that additional refinement
resulted in even more accurate intonation. An additional refinement to the
Rule of 3.3% compensation as set forth in the above patent and application
(which is incorporated herein by reference) suggested that three separate
Rules of Compensation, one for the electric guitar and two for acoustic
guitars, were needed. For example, the Rule of 1.4% compensation applies
to acoustic steel string guitars; for electric guitars, the Rule is 2.1%
compensation. The Rule for nylon string acoustics is 3.3%.
The difference in compensation is due to decreased string tension on the
electric guitars, relative to the higher tension on acoustic guitars. The
decrease in overall string tension (open strings) results in more pitch
distortion when playing fretted notes close to the nut (i.e. notes such as
the F, F#, G, G#, etc.). The greater the pitch distortion at the 1.sup.st
fret (assuming standard nut height of 0.010".about.0.020"), the more
compensation in nut placement is required. Hence, we have what we call the
Rule of 2.1% (or 0.030" shorter than standard 1.4312"). The correct
distance from the nut to the center of the first fret slot is 1.401" on an
electric guitar with standard 251/2" scale. Standard guitars are
manufactured using a mathematical formula called the Rule of 18 which is
used to determine the position of the frets and the nut.
A short explanation of the guitar is helpful to understanding this Rule of
18. The guitar includes six strings tuned to E, A, D, G, B, and E from the
low to high strings. Metal strips running perpendicular to the strings,
called frets 20, allow for other notes and chords to be played. (See FIGS.
1-4.) The positioning of the frets are determined by employing the
Pythagorean Scale. The Pythagorean Scale is based upon the fourth, the
fifth, and the octave interval ratios. As shown in FIG. 3, Pythagoras used
a movable bridge 50 as a basis, to divide the string into two segments at
these ratios. This is similar to the guitar player's finger pressing the
guitar string down at selected fret locations between the bridge and the
nut (FIG. 4).
To determine fret positions, guitar builders use a mathematical formula
based from the work of Pythagoras called the Rule of 18 (the number used
is actually 17.817). This is the distance from the nut (see FIG. 5) to the
first fret. The remaining scale length is divided by 17.817 to determine
the second fret location. This procedure is repeated for all of the fret
locations up the guitar neck. For example, focusing on FIGS. 5A and 5B, in
an acoustic guitar with a scale length of 25.511", the following
calculations are appropriate:
25.5.quadrature.17.817=1.431" (a) distance from nut to first fret
25.5-1.431=24.069"
24.069.quadrature.17.817=1.351" (b) distance between first and second fret
or
1.431+1.351=2.782" distance from nut to second fret
The procedure and calculations continue until the required number of frets
are located.
Some altering of numbers is required to have the twelfth fret location
exactly at the center of the scale length and the seventh fret producing a
two-thirds ratio for the fifth interval, etc.
Unfortunately, this system is inherently deficient in that it does not
result in perfect intonation. As one author stated:
"Indeed, you can drive yourself batty trying to make the intonation perfect
at every single fret. It'll simply never happen. Why? Remember what we
said about the Rule of 18 and the fudging that goes on to make fret
replacement come out right? That's why. Frets, by definition, are a bit of
compromise, Roger Sadowsky observes. Even assuming you have your
instrument professionally intonated and as perfect as it can be, your
first three frets will always be a little sharp. The middle register--the
4th through the 10th frets--tends to be a little flat. The octave area
tends to be accurate and the upper register tends to be either flat or
sharp; your ear really can't tell the difference. That's normal for a
perfectly intonated guitar."
(See The Whole Guitar Book, "The Big Setup," Alan di Perna, p.17, Musician
1990.
While this prior art system is flawed, before this invention it was just an
accepted fact that these were the best results that guitar makers could
come up with. But even with the inventions set out in the inventor's prior
patents (incorporated herein by reference), the system was not perfect.
The inventor has discovered a method of intonating guitars and other
stringed, fretted instruments that finally corrects additional
discrepancies or deficiencies thought to be inherent in the design of the
instrument.
This leads to another aspect of the invention. For centuries, the acoustic
guitar has been intonated according to a standard formula, or method. That
method consists of adjusting the saddle, (or saddles) so that each
individual string plays "in tune" with itself at the 12th fret, meaning
that an open string (for instance, "G") in the 4th octave, should be
"intonated," or adjusted, so that the fretted "G" on the same string (12th
fret, 5th octave) reads exactly one octave higher in pitch. This process
is then repeated for all six strings, and once accomplished, results in a
"perfectly" intonated guitar. The problem, however, is that this
"perfectly" intonated guitar exhibits an annoying problem, one that has
plagued guitarists since its invention. Certain chord shapes will sound
beautiful and pleasing to the ear, while other chord shapes will sound
"sour" or unpleasant to the ear. It has been a vexing and intractable
problem, one that has defied all attempts to resolve it.
Efforts have been made to position the saddle more accurately, or to
"compensate" the saddle (changing the witness point where the string
actually leaves the saddle) so that the 12th fret note agrees more closely
with the open string note, and, aided by the evolution of more precise
machine tools, measuring devices, etc; we have, in fact, "perfected" this
intonation method even more.
The basic problem, however, has remained and has resulted in enormous
frustration for guitarists and luthiers, as well as guitar technicians,
because, in spite of their best efforts to achieve "perfect" intonation,
the guitar still sounds out of tune at certain chord shapes.
As indicated in the background of the invention, current intonation
technology, even with the prior Feiten inventions set forth in U.S. Pat.
Nos. 5,600,079 and 5,404,783, still has not resulted in pleasing
intonation under the current framework using universally accepted models.
Indeed, prior artisans in the field may have even been saddled in trying to
perfect a "bad", imperfect or flawed model for at least 400 years. From a
historical perspective, prior to the mid 1600's, pianos or claviers had
evolved from a "just" or "mean" intonation (tuning the instrument to play
in only one or two related keys) to "equal temperment"; i.e., tuning the
instrument so that all the notes were mathematically equidistant from each
other. This method was an attempt to allow the instrument to play in a
variety of unrelated keys and still sound acceptably in tune. It was only
partially successful and resulted in the entire keyboard sounding slightly
out of tune, especially in the upper and lower registers.
In the mid-1600's, an enormous breakthrough occurred in piano technology.
The "well tempered" keyboard was conceived, and with it, a new standard
for piano keyboard intonation which we still use today.
With this perspective, the inventors believe that the reason that guitars
still sound out of tune, in spite of "perfect" intonation, is that the
universally accepted method for intonating guitars represents a form of
"equal temperment" . . . a method that was abandoned in the 1600's by
piano tuners! So, what the subject invention claims is a new intonation
model; i.e., a "well tempered" model specific to the guitar. There are, in
fact, four separate models, one each for nylon string, steel string
acoustic, electric guitar, and bass guitar, as a function of string
gauges.
The term "tempering" in the context of a guitar means deliberately
adjusting the length of a string at the saddle point so that the 12th fret
note is slightly "out of tune." The inventor is claiming a method that
results in "pleasing" intonation anywhere on the fingerboard, regardless
of chord shape.
When a piano tuner intonates a piano, he uses one string as his "reference"
note, typically, A-440 (or Middle "C"). He then "stretches" the intonation
of the octaves, plus or minus a very small amount of pitch. These units of
pitch are called "cents."
He then "tempers" the notes within the octaves so that they sound
"pleasant" regardless of the key. Best wisdom in the art dictated that
"tempering" a guitar was impossible, due to the fact that on a piano, one
string is always the same note, whereas on a guitar, one string must play
a variety of notes, leading to the universal perception that such an
attempt would present an insurmountable obstacle in terms of the
complexity of mathematical pitch relationships.
The inventors discovered, however, that it is possible to apply a very
specific and subtle formula that adjusts or "tempers" the intonation (both
open string and 12th fret) to the instrument, so that the result, while
mathematically "imperfect," sounds "pleasant" to the listener, regardless
of chord shape or position on the neck.
Attempts have been made to "compensate" the saddles on a guitar to
"improve" the intonation, however, the attempts have been haphazard,
random, arbitrary, and unsystematic, and have not resulted in a
satisfactory solution.
The inventors have thus discovered a tempering formula utilizing specific
pitch offsets, which when applied to the guitar, result in extraordinarily
pleasing intonation.
The concept of using specific pitch offset formulae to "temper" a guitar is
a completely novel concept.
SUMMARY OF THE INVENTION
The present invention is directed to improved structures and methods to
accurately intonate acoustic and electric guitars, as well as other
stringed, fretted musical instruments.
The first aspect of the invention discloses an acoustic guitar that allows
the strings (nylon or steel) to be intonated accurately and easily
whenever necessary by use of the adjustable bridge. The bridge system
employs a minimum of alternations to the traditional acoustic guitar
bridge, to retain the acoustic and tonal qualities of the instrument.
Moreover, the traditional appearance is less likely to receive resistance
from musicians.
In one embodiment, rear loaded cap screws utilize the forward and downward
pull of the guitar strings to stabilize the saddles. A threaded saddle
capture on each saddle provides stability, continuous threading
capability, and the freedom to use various acoustically resonant materials
(bone, phenolic, composites, etc., but not metal) for saddles.
Acoustically resonant material is material which accepts sound waves (due
to string vibrations) delivered to it at one point and transmits them to
another source (the base of the acoustic guitar bridge), with little or no
degradation of the sound waves. Examples of acoustically resonant material
include bone, phenolic, ivory, etc. Although metal will transmit sound
waves through it, the mass and density of metal soaks up and dampens the
sound waves.
In another embodiment, recessed, front loaded cap screws utilize the
downward pull of the strings and a 4-40 set screw to maximize the sound
transference to the body of the guitar. (FIG. 8-A). After additional
experimentation, it became apparent that insofar as the original rear
loaded cap screw design (FIG. 8) eliminated the need for multi-point
fasteners; the benefits derived from front loading the cap screw (i.e.,
centering the string on the saddle) offset the negative effect of the
multipoint fastener. The set screw shown in FIG. 8-A (#80) provides an
alternative method to prevent the screw from rattling, while increasing
downward pressure on the saddle, thereby transferring even more vibration
to the soundboard and/or electric pickup. A c-clip (FIG. 13) stabilizes
the cap screw and prevents it from backing out of the hole. A 0.04011
rosewood shim is employed over the internal bridge pickup. The vibration
of the saddles on the shim is transmitted to the pickup regardless whether
the saddles are located directly over the pickup or not. The system has
been tested and is compatible with most bridge pickup systems currently on
the market.
In another aspect of the invention, the inventors discovered that the nut
placement design of a standard guitar, manufactured using the standard of
Rule of 18, was flawed. If a percentage (i.e., approximately 3.3%, or
approximately 3/64" on a scale length of 25.5") was removed from the
fingerboard at the head stock end of a nylon string guitar, perfect or
near-perfect intonation was obtained due to more accurate spacing between
the nut and the frets.
After extensive testing, the inventors found that nut placement could be
refined even more precisely by dividing the original Rule of 3.3%
compensation into three separate categories--the Feiten Rules of
Compensation. The inventors derived the Rule of 3.3% by testing a nylon
string guitar; then they found that lower compensation was necessary for a
steel string acoustic guitar, due to the higher string tension on the
steel string (resulting in less pitch distortion). Hence, the Rule of 3.3%
compensation applies to acoustic nylon string guitars. The Rule of 1.4%
compensation applies to acoustic steel string guitars, and bass guitars,
or those acoustic-electrics using heavy gauge strings (the 0.011-0.050 set
or a heavier set, and utilizing wound G string). The Rule of 2.1%
compensation applies to electric guitars, or those instruments using light
gauge strings (lighter than the 0.011-0.050 set with an unwound G string).
Additionally, the inventors found that after the appropriate Feiten Rule of
Compensation was applied, more pleasing intonation could then be achieved
by subtle pitch adjustments called tempering. Pleasant intonation is
hereby defined as intonation which is pleasing regardless of where a
player's fingers are on the fret board. The process of tempering is
normally restricted to adjusting pianos, and entails adjusting strings by
ear, or using an electronic tuner until all notes sound pleasing to the
ear, in any key, anywhere on the keyboard. As past attempts to temper the
guitar have been haphazard, unsystematic, and thus ultimately unsuccessful
(resulting in poor intonation), the method of using a set of constant
tempering pitch offsets is a revolutionary concept in guitar intonation.
The tempering process incorporated by the inventors does not consist of
random adjustment. Rather, the inventors derived a combination of
constant, open-string (unfretted) tuning offsets and intonation offsets
(at the 12th fret). The inventors have identified multiple embodiments of
constants which serve to intonate any stringed fretted instrument, hereby
titled Feiten Temper Tuning Tables.
Through the combination of applying the appropriate corresponding Feiten
Rule of Compensation and tempering the instrument according to a Feiten
Temper Tuning Table, any stringed, fretted musical instrument can be
adjusted to achieve pleasing intonation.
The concept of using specific pitch offset formulae to temper a guitar is
also a completely novel concept.
BRIEF DESCRIPTION OF THE DRAWINGS
FIG. 1 shows a top view of a conventional acoustic guitar having a neck, a
body, a resonant cavity or soundhole, and a bridge.
FIGS. 1A and 1B show two conventional methods of securing string to the
bridge of an acoustic guitar (nylon strings).
FIG. 1C shows the conventional method of securing the string to the tuning
keys of an acoustic guitar.
FIG. 2 shows an elevated view of the claimed fully adjustable acoustic
bridge which is mounted on the guitar body.
FIG. 2A shows an elevated view of another embodiment of an adjustable
bridge.
FIG. 3 is an illustrative drawing to illustrate the Pythagoras Monochord
(theoretical model), utilizing a movable bridge.
FIG. 4 shows a blown up and fragmented illustration of the relationship
between the fingers, frets, saddle and bridge in the actual playing of a
guitar, as compared to the theoretical model in FIG. 3.
FIG. 5A shows a pictorial of the neck of a conventional guitar to explain
the Rule of the 18's.
FIG. 5B shows a pictorial of the claimed guitar illustrating compensation
for, and explanation of the Rule of the 3.3%. On a 25.5" scale length
guitar, about 3/64" is removed from the neck.
FIG. 6 shows a top view and partial cross-section of the claimed bridge.
FIG. 6A is a section view through Section A--A of FIG. 6 of the saddle
adjustment screw hole through the boss or ridge on the anterior portion of
bridge. The hole does not contain threads and is preferably oval to limit
side-to-side movement but allow up and down movement.
FIG. 6B a section view of the guitar string channel through the bridge
taken along Section B--B of FIG. 6, showing the groove through which the
string passes.
FIG. 6C shows a top view and partial cross-section of another embodiment of
the claimed bridge.
FIG. 6D is a section view through Section 6d--6d of FIG. 6C of the saddle
adjustment feature of the invention.
FIG. 7 is another section view of the bridge (for a nylon string acoustic
guitar) with the electronic pickup embodiment, with all of the preferable
parts shown, including the guitar string, saddle, capture, screw shim and
internal bridge pickup.
FIG. 7A is a free body diagram of the forces exerted by the string and
screws on the saddle and on the pickup.
FIG. 7B is a top view of the bridge generally shown in FIG. 7 with the
electronic pickup.
FIG. 7C is a vertical view of the apparatus in FIG. 7B.
FIG. 7D is another sectional view of a nylon string bridge with internal
pickup.
FIG. 7E is a sectional view of a saddle, illustrating the forces applied to
it by the set-screw (FIG. 7D #80).
FIG. 8 is another sectional view of the bridge (for the steel string
acoustic guitar) without pickup embodiment, with all of the preferable
parts shown, including the guitar string, saddle, screw and shim.
FIG. 8A is a sectional view of another embodiment of the bridge, using a
front-loaded cap screws, set-screw, and c-clip.
FIG. 9 is an elevation drawing of the string saddle. The claimed bridge
requires six individual saddle elements so that each string can be
intonated separately.
FIG. 9A is an elevation drawing of another embodiment of the string saddle.
FIG. 10 is an elevated perspective of the threaded saddle capture which is
attached (preferably press-fitted) to the saddle.
FIGS. 11 and 12 are additional drawings of the saddle capture.
FIG. 13 is a front view of the c-clip which clips tightly around a notch
cut in the adjustment screw and rest firmly against the front ridge of the
bridge, providing a means to securely hold the adjustment screw and saddle
in place without choking off the strings vibrations.
FIG. 14 is a side view of the adjustment screw, set screw and c-clip.
FIG. 15 shows another embodiment of adjustable bridge system with staggered
troughs for the saddles and staggered screw cavities. This allows the
minimum wood removal for improved tone. Staggered screw cavities allow for
each screw to be the same size, therefore, each saddle will have minimum
added mass to it and each saddle be connected the same.
FIG. 16 shows nonadjustable split saddle bridge which allows for proper
intonation at the determined points utilizing the tempered tuning system.
Allows a player to experience the benefits of the tempered tuning system
and the improved sound of having six individual saddles.
FIG. 17 shows a depiction of tuning an open string (unfretted) to a desired
pitch.
FIG. 18 similarly shows intonation at the 12th fret which divides the
string length in half.
FIG. 19 shows an individual saddle used to determine the focal points.
FIG. 20 shows saddles preliminarily set to desired positions by being moved
closer or further away from the neck.
FIG. 21 shows individual fixed saddles (finished saddles) connected in a
groove or saddle slot formed by routing.
FIG. 22 shows the saddles set into the saddle slots.
FIG. 23 shows a cross-sectional view of three-piece saddles used to
determine intonation points.
FIG. 24 is a plan view of such three-piece saddles.
FIG. 25 shows three-piece fixed saddles. Finished and placed in a saddle
slot once again formed by routing.
FIG. 26 shows a plan view where the saddles are angled to compensate for
the fatter strings at the bottom.
FIG. 27 shows two-piece saddles as used to determine intonation points.
FIG. 28 shows a plan view of the situation where two-piece saddles are used
to establish points.
FIG. 29 shows a side-view of a two-piece fixed saddle.
FIG. 30 shows a plan view of a two-piece fixed saddle.
FIG. 31 shows a single-piece fixed saddle inserted in a saddle slot.
FIG. 32 is a plan view showing such a fixed saddle with the saddle position
establishing points.
FIG. 33 shows the moving of a saddle back and forth to establish points.
FIG. 34 illustrates the movable fret method to determine points.
FIG. 35 illustrates a traditional adjustable saddle.
FIG. 36 shows how such an adjustable saddle can be moved by fingers and
locked down with a screw.
DETAILED DESCRIPTION OF THE PREFERRED EMBODIMENT
FIG. 1 shows the basic configuration of a conventional classic acoustic
guitar 10 having a guitar body 12 having sides 13 and a top or soundboard
15 on which is mounted bridge 16. Guitar strings 22 stretch over the
resonant cavity or 14 and on to the head stock 24 and tuning keys 26. A
bridge 16 and a saddle 19 is mounted on the top (or on the soundboard) 15
of the guitar body 12. Upraised metal ridges called frets 20 are located
at designated intervals on the handle perpendicular to the strings. A
typical guitar has about twenty frets. As set forth in the background of
the invention, the positioning of the frets was conventionally determined
by the so-called Rule of the 18. As also indicated in the Background of
the Invention, conventional wisdom blindly followed this rule and led to
the conclusion that proper intonation was not possible. FIG. 1 also shows
the ridge 17 called the "nut", which is typically made of bone
(traditional) or plastic, ivory, brass, Corian or graphite. The nut 17 is
located at the end of the fingerboard 21 just before the head stock 24. It
allows for the strings to be played open, (i.e., unencumbered) non-fretted
notes. The nut 17 has six slots equally spaced apart, one for each string.
The proper depth of the nut slot (for string) is that the string is
0.02011 above the first fret (this is a common measurement among guitar
makers), to allow the open note to ring true without buzzing on the first
fret. A lower spec at the first fret would allow less pressure at the
lower frets (first through fifth), and result in closer proper intonation
at these frets; however, the open position would be unplayable due to
excessive string buzzing upon the first fret.
FIG. 2 shows an elevated drawing of the adjustable bridge 16. The bridge
utilizes individual saddles 20 which are adjustable in a direction
longitudinal to the strings 22 and perpendicular to the neck 18. In the
best mode, each saddle is located on a groove or trough 36. Each
individual saddle has an attached threaded saddle capture 20a, which
stabilizes and fortifies the connection between the saddles (which are
typically made of non-metal or other soft material) and screws 38 which
are threaded into the saddle captures. This is also shown in FIGS. 6, 7
and 8. The head of each screw is rotatably connected to the transverse
boss (front ridge) 34, which extends substantially perpendicular to the
strings and substantially parallel to the groove and which forms part of
the frame or housing 32. Turning each screw 38 causes the movement of each
connected saddle in a direction longitudinal to the strings to accomplish
proper intonation. Bridge frame or housing 32 has extensions 32a and 32b
which add support and optimize the picking up of the vibration off the
body and from the resonant cavity.
FIG. 3 is a theoretical illustration for purposes of understanding the
conventional Rule of 18. The positioning of moveable bridge or fret 50
causes shortening or lengthening of the length of the string d (FIG. 3),
changing the pitch of string 52. The positioning of the frets is
determined by employing the Pythagorean theory with regard to moveable
bridge 50 to develop the string into segments of the desired ratio. The
human finger tries to approximate this in the playing of a guitar, as
illustrated in FIG. 4. When the human finger depresses the string, contact
is made with an adjacent fret changing the length d' of the resonant
string. The frets normally do not touch the string until the string is
depressed by the human finger when the guitar is played. This helps
explain one aspect of the present invention. The subject inventors
appreciated that the application of the Pythagorean theory is premised on
the string being under constant tension, which in fact is not the case
when the guitar is actually being played and the string is under different
tensions at different positions along the guitar neck when fretted by the
human finger.
FIGS. 5(a) and 5(b) illustrate how the Rule of the 18 is applied to
position the frets on the neck of a traditional guitar, in contrast to the
subject invention. FIG. 5(a) illustrates a traditional guitar neck. The
first fret 51 is shown as being a distance away from the nut. Typically,
the length of the string from the bridge to the nut is 25.5". The 12th
fret 52 is also shown. The position of each fret is conventionally
determined by the Rule of 18, as previously set out. Intermediate frets
are not shown.
As noted, the frequency of a stretched string under constant tension is
inversely proportional to its length. This is what the Pythagorean
monochord represents, and is the basis from which the Rule of 18 is
determined. (See FIGS. 3-5). However, what both traditional thinking and
prior art failed to appreciate is the variation of string tension as the
guitar player pushed on the string, making contact with different frets at
different positions on the neck. The string tension is not constant when
fretted along the guitar neck. It requires more pressure at the lower fret
locations (e.g., near the nut 17 in FIG. 1) than it does in the upper
locations (towards the bridge 16).
The traditional Rule of 18 views the nut as a fret position; however, the
nut is higher than the fret height to allow for the open string positions
to be played. This inevitably results in lack of proper intonation, which
leads to another aspect of the invention--what the inventors coined the
Rule of 1.4% compensation. In the best mode, the actual number is 1.4112%.
The calculations are as follows:
a. For a neck with a scale length of 25.511", the distance from the nut to
the first fret is 1.4312" (by the Rule of 18).
b. For an acoustic steel string guitar, shorten this distance by 1.4%:
1.4312".times.1.4%=0.0200368", or in practical manufacturing usage, 0.020
inches. Thus, 1.4312"-0.020"=1.4112".
This is the proper distance between nut and first fret for accurate
intonation on an acoustic steel string guitar. The Rule of 1.4%
compensation should be applied to any fretted acoustic steel string
instrument, regardless of scale length, in order to achieve proper
intonation. This compensation works for all common acoustic steel string
gauges. For electric/acoustic instruments using heavy gauge strings (the
0.011-0.050 set or a heavier set, with wound G string), the Rule of 1.4%
compensation must be applied. This includes, but is not limited to, "jazz"
guitars.
The Rule of 2.1% should be applied to any stringed, fretted, electric
instrument, regardless of scale length and with the exception of
electric/acoustic instruments having heavy gauge strings, to achieve
proper intonation. The Rule of 1.4% should be applied to fretted electric
basses. The relatively larger core of electric bass strings requires the
application of the Rule of 1.4% compensation to correct the intonation at
the lower frets, and those above the 12th fret.
The Rule of 3.3% compensation allows for any nylon string acoustic guitar
with properly located frets and an adjustable intonatable bridge to
achieve accurate intonation at all fret positions. This rule has the fret
locations determined as previously described by the Rule of 18 with one
alteration: once all fret positions are determined by the Rule of 18, one
goes back to the nut and reduces the distance of the nut from the first
fret by 3.3%. For a scale length of 25.5", the 3.3% compensation is
0.0472". In simple terms, one cuts 3/64" (3.3. %) off of a nylon string
guitar neck fingerboard at the nut end that already has its fret slots
cut. The 3.3% compensation of the fingerboard compensates for the various
string tensions along the neck, and for the increased string height at the
nut.
Finally, once nut placement has been determined according to the
appropriate Feiten Rule of Compensation, the guitar strings must be
tempered according to a table of constants (the Feiten Temper Tuning
Table) to achieve accurate intonation. One preferred embodiment, for
electric guitar, is detailed in the following table below:
Tuning offsets Intonation offsets
(cents) 12th fret (cents)
E + 00 E + 00
B + 01 B + 00
G - 02 G + 01
D - 02 D + 01
A - 02 A + 00
E - 02 E + 00
The following is best understood in relation to FIGS. 16-18. FIG. 16, for
example, shows a nonadjustable split saddle bridge 120 which allows for
proper intonation at the determined points 122 utilizing the tempered
tuning system. It allows a player to experience the benefits of the
tempered tuning system and the improved sound of having six individual
saddles 124. FIG. 17 shows a depiction of tuning an open string
(unfretted) to a desired pitch, while FIG. 18 similarly shows intonation
at the 12th fret which divides the string length in half. While the
above-mentioned table shows the preferred embodiment for an electric
guitar, other Feiten Temper Tuning Tables can be applied to this type and
other types of guitars (i.e., nylon, steel string acoustic), as set out
below:
With regard to steel string acoustic guitars, the following steps are
preferred for optimal tempering and intonations:
1. Tune open E string (5th octave) to pitch. (FIG. 17)
2. Press string at 12th fret. (FIG. 18)
3. Compare "open" string pitch with 12th fret pitch. Adjust saddle (FIG.
19) so that 12th fret pitch reads "+01" on an equal tempered tuner.
4. Tune open "B" string (5th octave) to pitch. (FIG. 17)
5. Press string at 12th fret (FIG. 18)
6. Compare "open" string pitch with 12th fret pitch. Adjust saddle (FIG.
19) so that 12th fret pitch reads "00" cents on an equal tempered tuner
(such as a Yamaha PT 100 or Sanderson Accutuner which of course, will
measure increments on one cent intervals).
7. Tune "G" string (4th octave) to pitch. (FIG. 17)
8. Press string at 12th fret. (FIG. 18)
9. Compare open string pitch with 12th fret pitch. Adjust saddle (FIG. 19)
so that 12th fret pitch reads "+02" cents on an equal tempered tuner.
10. Tune "D" string (4th octave) to pitch. (FIG. 17)
11. Press string down at 12th fret. (FIG. 18)
12. Compare "open" string pitch with 12th fret pitch. Adjust saddle so that
12th fret pitch reads "+03" cents on an equal tempered tuner.
13. Tune open "A" string (4th octave) to "-04", using the 7th fret
harmonic, but leaving the tuner set at "A".
14. Press string at 12th fret. (FIG. 18)
15. Compare "open" string pitch with 12th fret pitch. Adjust saddle so that
12th fret pitch reads "+05" cents on an equal tempered tuner.
16. Tune open "E" string (3rd octave) to "-01" cent.* (FIG. 17)
17. Press string down at 7th fret. (FIG. 18)
18. Compare "open" string pitch with 7th fret pitch. Adjust saddle so that
7th fret pitch reads "+02" cents on an equal tempered tuner.*
It will be readily apparent to those skilled in the art that the steps for
optimal tempering an intonations set forth above and below do not have to
be in performed in the particular order indicated, i.e., E string, then B
string, then G string, etc., other orders are acceptable.
In an alternative preferred embodiment, the following steps are also
preferred for optimal tempering and intonations for steel string acoustic
guitars:
1. Tune open E string (5th octave) to "-01" cents. (FIG. 17)
2. Press string at 12th fret. (FIG. 18)
3. Compare "open" string pitch with 12th fret pitch. Adjust saddle (FIG.
19) so that 12th fret pitch reads "00" cents on an equal tempered tuner.
4. Tune open "B" string (5th octave) to "-01" cents. (FIG. 17).
5. Press string at 12th fret (FIG. 18).
6. Compare "open" string pitch with 12th fret pitch. Adjust saddle (FIG.
19) so that 12th fret pitch reads "00" cents on an equal tempered tuner.
7. Tune "G" string (4th octave) to pitch. (FIG. 17)
8. Press string at 12th fret. (FIG. 18)
9. Compare open string pitch with 12th fret pitch. Adjust saddle (FIG. 19)
so that 12th fret pitch reads "+02" cents on an equal tempered tuner.
10. Tune "D" string (4th octave) to pitch. (FIG. 17)
11. Press string down at 12th fret. (FIG. 18)
12. Compare "open" string pitch with 12th fret pitch. Adjust saddle so that
12th fret pitch reads "+03" cents on an equal tempered tuner.
13. Tune open "A" string (4th octave) to pitch. (FIG. 17)
14. Press string at 12th fret. (FIG. 18)
15. Compare "open" string pitch with 12th fret pitch. Adjust saddle so that
12th fret pitch reads "+05" cents on an equal tempered tuner.
16. Tune open "E" string (3rd octave) to pitch. (FIG. 17)
17. Press string down at 7th fret. (FIG. 18)
18. Compare "open" string pitch with 7th fret pitch. Adjust saddle so that
7th fret pitch reads "00" cents on an equal tempered tuner.
There are a variety of ways to establish the "intonation points" on an
acoustic guitar, including the procedure illustrated as set forth in the
drawings and described below: FIG. 19 shows an individual saddle used to
determine the focal points. As shown in FIGS. 19 and 20, for example, six
individual saddles 70 rest atop a bridge 72 with no saddle slot. The
saddles are moved back and forth (upwardly or downwardly in relation to
the neck) until the "tempered" intonation points are established which
process may be assisted using a Yamaha PT 100 or a Sanderson Accutuner. In
FIGS. 21 and 22, the saddle slots are then cut into the bridge; (shown at
74) and the intonation points become permanent. FIG. 21 shows individual
fixed saddles (finished saddles) connected in a groove or saddle slot
formed by routing, while FIG. 22 shows the saddles set into the saddle
slots. In FIGS. 23 and 24, three saddles, each supporting two strings 78,
rest atop a bridge 80 with no saddle slot. FIG. 23 shows a cross-sectional
view of three-piece saddles used to determine intonation points while FIG.
24 is a plan view of such three-piece saddles. The saddles are positioned
to reflect the "tempered" intonation points. In FIGS. 25 and 26, the
saddle slots are cut (shown at 82) into the bridge, and the "tempered"
intonation points become permanent. FIG. 25 shows three-piece fixed
saddles 84 finished and placed in a saddle slot once again formed by
routing. FIG. 26 also shows a plan view where the saddles are angled to
compensate for the fatter strings at the bottom. In FIGS. 27 and 28, a
two-piece saddle 86 is shown resting atop a bridge 88 with no saddle slot.
FIG. 27 shows two-piece saddles as used to determine intonation points
while FIG. 28 shows a plan view of the situation where two-piece saddles
are used to establish points. The saddle supporting two strings is
positioned to establish the "tempered" intonation points. The saddle
supporting four strings is positioned according to the "saddle position
establishing points," in this case, the "G" and "D" strings. The remaining
strings have been positioned on the saddle by grinding, filing, or
machining the saddle to reflect the "tempered" intonation points. In FIGS.
29 and 30, FIG. 29 shows a side-view of a two-piece fixed saddle while
FIG. 30 shows a plan view of a two-piece fixed saddle.
The "saddle position establishing points" are determined by whichever two
intonation points need to be closest to the neck, in order to reflect the
specific pitch offsets dictated by the Feiten Tempered Tuning Tables and
still allow the remaining points to fall within the 1/8" dictated by the
thickness of the saddle.
FIG. 31 shows a single-piece fixed saddle 90 inserted in a saddle slot 92
while FIG. 32 is a plan view showing such a fixed saddle 90 with the
saddle position establishing points. In FIG. 33 it is shown how the saddle
94 is moved back and forth 96 to establish points. FIG. 34 illustrates the
movable fret method to determine points. In FIG. 33, the saddle is moved
back and forth until the desired "tempered" intonation point is
established. This process is then repeated for each string, according to
the specific tempering formula for the type of guitar used.
With regard to electric guitars, the following steps are preferred for
optimal tempering and intonation:
1. Tune open E string (5th Octave) to pitch standard pitch (00 cents).
(FIG. 17)
2. Press string at 12th fret. (FIG. 18)
3. Compare "open" string pitch with 12th fret pitch. Adjust saddle (FIGS.
35, 36) so that 12th fret pitch reads "00" on an equal tempered tuner.
Again, this is our "reference" string (like A-440 on a piano) and receives
no temperment.
4. Tune open "B" string (5th octave) to (+01 cents). (FIG. 17)
5. Press string at 12th fret (FIG. 18)
6. Compare "open" string pitch with 12th fret pitch. Adjust saddle (FIGS.
35, 36) so that 12th fret pitch reads "00" cents.
7. Tune open "G" string (4th octave) to -02 cents. (FIG. 17)
8. Press string at 12th fret. (FIG. 18)
9. Compare open string pitch with 12th fret pitch. Adjust saddle (FIGS. 35,
36) so that 12th fret pitch reads "+01" cents.
10. Tune open "D" string (4th octave) to -02 cents. (FIG. 17)
11. Press string at 12th fret. (FIG. 18)
12. Compare "open" string pitch with 12th fret pitch. Adjust saddle (FIGS.
35, 36) so that 12th fret pitch reads "+01" cents on an equal tempered
tuner.
13. Tune open "A" string (4th octave) to -02 cents. (FIG. 17)
14. Press string at 12th fret. (FIG. 18)
15. Compare open string pitch with 12th fret pitch. Adjust saddle (FIGS.
35, 36) so that 12th fret pitch reads "00" cents.
16. Tune open "E" string (3rd octave) to "-02" cents. (FIG. 17)
17. Press string at 12th fret. (FIG. 18)
18. Compare "open" string pitch with 12th fret pitch. Adjust saddle (FIGS.
35, 36) so that 12th fret pitch reads "00" cents.
In an alternative preferred embodiment, the following steps are also
preferred for optimal tempering and intonation of electric guitars:
1. Tune open E string (5th Octave) to (-01 cents). (FIG. 17)
2. Press string at 12th fret. (FIG. 18)
3. Compare "open" string pitch with 12th fret pitch. Adjust saddle (FIGS.
35, 36) so that 12th fret pitch reads "00" on an equal tempered tuner.
4. Tune open "B" string (5th octave) to pitch. (FIG. 17)
5. Press string at 12th fret (FIG. 18)
6. Compare "open" string pitch with 12th fret pitch. Adjust saddle (FIGS.
35, 36) so that 12th fret pitch reads "00" cents.
7. Tune open "G" string (4th octave) to -02 cents. (FIG. 17)
8. Press string at 12th fret. (FIG. 18)
9. Compare open string pitch with 12th fret pitch. Adjust saddle (FIGS. 35,
36) so that 12th fret pitch reads "+01" cents.
10. Tune open "D" string (4th octave) to -02 cents. (FIG. 17)
11. Press string at 12th fret. (FIG. 18)
12. Compare "open" string pitch with 12th fret pitch. Adjust saddle (FIGS.
35, 36) so that 12th fret pitch reads "+01" cents on an equal tempered
tuner.
13. Tune open "A" string (4th octave) to -02 cents. (FIG. 17)
14. Press string at 12th fret. (FIG. 18)
15. Compare open string pitch with 12th fret pitch. Adjust saddle (FIGS.
35, 36) so that 12th fret pitch reads "00" cents.
16. Tune open "E" string (3rd octave) to "-02" cents. (FIG. 17)
17. Press string at 12th fret. (FIG. 18)
18. Compare "open" string pitch with 12th fret pitch. Adjust saddle (FIGS.
35, 36) so that 12th fret pitch reads "00" cents.
With regard to Nylon String guitars, the following steps are preferred for
optimal tempering and intonation.
1. Tune open "E" string to pitch (5th octave), 00 cents. (FIG. 17)
2. Press string at 12th fret. (FIG. 18)
3. Compare "open" string pitch with 12th fret pitch. Adjust saddle (FIG.
28), so that 12th fret pitch reads "+02" cents on an equal tempered tuner.
4. Tune open "B" string (5th octave) to pitch "00". (FIG. 17)
5. Press string at 12th fret. (FIG. 18)
6. Compare "open" string pitch with 12th fret pitch. Adjust saddle (FIG.
28), so that 12th fret pitch reads "+02" cents.
7. Tune open "G" string (4th octave) to "00" cents. (FIG. 17)
8. Press string at 12th fret. (FIG. 18)
9. Compare open string pitch with 12th fret pitch. Adjust saddle (FIG. 28)
so that 12th fret pitch reads "+02" cents on an equal tempered tuner.
10. Tune open "D" string (4th octave) to "00" cents. (FIG. 17)
11. Press string at 12th fret. (FIG. 18)
12. Compare "open" string pitch with 12th fret pitch. Adjust saddle (FIG.
28) so that 12th fret pitch reads "+03" cents.
13. Tune open A string (4th octave) to "00" cents.
14. Press string at 7th fret (not 12th fret!). (FIG. 18)
15. Compare open string pitch with 7th fret pitch. Adjust saddle (FIG. 28)
so that 7th fret pitch reads "+02" cents.
16. Tune open "E" string (3rd octave) to "00" cents. (FIG. 17)
17. Press string at 7th fret. (FIG. 18)
18. Compare "open" string pitch with 7th fret pitch. Adjust saddle (FIG.
28) so that 7th fret pitch reads "+02" cents.
In an alternative preferred embodiment, the following steps are also
preferred for optimal tempering and intonations for nylon string acoustic
guitars:
1. Tune open E string (5th octave) to "-01" cents. (FIG. 17)
2. Press string at 12th fret. (FIG. 18)
3. Compare "open" string pitch with 12th fret pitch. Adjust saddle (FIG.
19) so that 12th fret pitch reads "00" cents on an equal tempered tuner.
4. Tune open "B" string (5th octave) to "-01" cents. (FIG. 17).
5. Press string at 12th fret (FIG. 18).
6. Compare "open" string pitch with 12th fret pitch. Adjust saddle (FIG.
19) so that 12th fret pitch reads "00" cents on an equal tempered tuner.
7. Tune "G" string (4th octave) to pitch. (FIG. 17)
8. Press string at 12th fret. (FIG. 18)
9. Compare open string pitch with 12th fret pitch. Adjust saddle (FIG. 19)
so that 12th fret pitch reads "+02" cents on an equal tempered tuner.
10. Tune "D" string (4th octave) to pitch. (FIG. 17)
11. Press string down at 12th fret. (FIG. 18)
12. Compare "open" string pitch with 12th fret pitch. Adjust saddle so that
12th fret pitch reads "+03" cents on an equal tempered tuner.
13. Tune open "A" string (4th octave) to pitch. (FIG. 17)
14. Press string at 12th fret. (FIG. 18)
15. Compare "open" string pitch with 12th fret pitch. Adjust saddle so that
12th fret pitch reads "+05" cents on an equal tempered tuner.
16. Tune open "E" string (3rd octave) to pitch. (FIG. 17)
17. Press string down at 7th fret. (FIG. 18)
18. Compare "open" string pitch with 7th fret pitch. Adjust saddle so that
7th fret pitch reads "00" cents on an equal tempered tuner.
The tempering formulae described in this method are the preferred
embodiments. They may be represented by the following charts or tables.
Steel String Acoustic Guitar
(Preferred Embodiment)
Note Open (Cents) 12th Fret (Cents)
E 00 +01
B 00 00
G 00 +02
D 00 +03
A -04 at 7th fret +05
harmonic
E -01 (Fretted "B", 7th
fret) +02
Steel String Acoustic Guitar
(Alternate Embodiment)
Note Open (Cents) 12th Fret (Cents)
E -01 00
B -01 00
G 00 +02
D 00 +03
A 00 +05
E 00 00
Steel String Acoustic Guitar
(Alternate Embodiment)
Note Open (Cents) 12th Fret
E 00 00
B 00 -01
G 00 +01
D 00 +01
A 00 +01
E -01 00
Electric Guitar
(Preferred Embodiment)
Note Open (Cents) 12th Fret
E -01 00
B +01 00
G -02 +01
D -02 +01
A -02 00
E -02 00
Electric Guitar
(Alternate Embodiment)
Note Open (Cents) 12th Fret
E -00 00
B 00 00
G -02 +01
D -02 +01
A -02 00
E -02 00
Nylon String Guitar
