Music – Instruments – Stringed
Reexamination Certificate
2002-02-13
2003-09-02
Hsieh, Shih-Yung (Department: 2837)
Music
Instruments
Stringed
Reexamination Certificate
active
06613969
ABSTRACT:
TECHNICAL FIELD OF THE INVENTION
One or more embodiments of the present invention pertain to a fret for stringed instruments.
BACKGROUND OF THE INVENTION
A stringed instrument such as, for example, and without limitation, a guitar, typically includes a fingerboard over which strings extend. Such a stringed instrument often comprises frets that are located in the fingerboard (at pre-determined locations beneath the strings). In use, the length of a string is varied by pressing the string into contact with one or more of the frets, and the string is plucked to provide a tone. The tone is changed by varying the string length.
FIG. 1
shows a perspective view of fret
100
that is fabricated in accordance with the prior art. As shown in
FIG. 1
, when viewed end-on, fret
100
has a somewhat T-shaped configuration comprised of stem
110
(also referred to as “tang 110”) and cap
120
. As is further shown in
FIG. 1
, studs
130
1
to
130
4
protrude from tang
110
. To construct a stringed instrument, tang
110
is inserted into the fingerboard of the instrument to secure or anchor fret
100
(U.S. Pat. No. 4,064,779 to Phillip J. Petillo discloses alternative shapes for cap
120
).
Studs
130
1
to
130
n
hold fret
100
in a slot in the neck of the stringed instrument by compression, analogous to the manner in which a nail holds when driven into a piece of wood. Fret
100
is typically fabricated as a cold-rolled wire. As set forth in a book entitled “Guitarmaking” by W. R. Cumpiano and J. D. Natelson, published by
Chronicle Books of San Francisco,
1993, copyright date 1987 (“Guitarmaking”), at p. 271: “Most modern fret wire is made from what is called eighteen percent nickel/silver. The term denotes a common alloy used in many commercial and industrial applications where high corrosion resistance is required and where excellent cold working properties are necessary for fabrication. Eighteen percent nickel/silver is actually a copper alloy, containing eighteen percent nickel and either fifty-five percent copper and twenty-seven percent zinc, or sixty-five percent copper and seventeen percent zinc. Fret wire is made from the latter variety. . . An alloy harder than eighteen percent nickel/silver would yield longer-lasting frets, but would quickly wear out the high-speed machinery on which it is formed.”
The use of frets consisting of a soft material such as eighteen percent nickel/silver is problematic for a number of reasons. For example, the tops of frets consisting of a soft material may become roughened or worn from use (for example, the top of the fret may become flattened or dented by repeated contact with the strings). This, in turn, causes problems such as: (a) producing a rasping noise or a buzz whenever a string is pressed against the roughened or worn fret; (b) wearing out strings; and (c) projecting a poor sound to the instrument. In addition, as is well known, the length between a central axis passing longitudinally through a long axis of cap
120
of fret
100
and a fixed end of a string defines a distance whereby a string of that length will provide a tone of precise frequency when the string is plucked. However, if cap
120
of fret
100
is worn down, proper tonal qualities may not be produced.
In addition, use of the prior art fret shown in
FIG. 1
creates problems in reliably seating the fret without it subsequently being loosened through use. Frets become loose for several reasons. First, after replacing frets in an instrument (“refretting”), the slots for the frets may become too wide due to pulling out of the old frets. Second, a fret sometimes pops out of a fingerboard because, when first made, a slot is too wide or a fret tang is too narrow. Third, wood in a wooden fingerboard may become soft and spongy due to too much moisture in the wooden fingerboard or from using oil on the fingerboard.
In light of the above, there is a need in the art for frets that: (a) are long-lasting; and (b) can be reliably seated.
SUMMARY OF THE INVENTION
One or more embodiments of the present invention satisfy one or more of the above-identified needs in the art. In particular, one embodiment of the present invention is a fret adapted for insertion into a fingerboard of an instrument, the fret comprising: (a) a stem adapted to engage the fingerboard when inserted therein, the stem having one or more studs; and (b) a cap having a base joined to one end of the stem; wherein one or more of the studs comprises a wedge having a sloped side whose area has a quadrilateral shape.
REFERENCES:
patent: 4064779 (1977-12-01), Petillo
patent: 4723469 (1988-02-01), Vogt
patent: 5952593 (1999-09-01), Wilder
patent: 6252149 (2001-06-01), Matsushita
patent: 6369306 (2002-04-01), Chapman
“Guitarmaking” by W. R. Cumpiano et al.,Chronicle Books, 1987, pp. 270-272.
“Electric Guitars” by Tony Bacon,Thunder Bay Press, 2000, pp. 246-247.
Stewart-MacDonald Catalog, 2002, pp. 8 and 100.
Petillo David M.
Petillo Phillip J.
Einschlag Michael B.
Hsieh Shih-Yung
LandOfFree
Fret for stringed instruments does not yet have a rating. At this time, there are no reviews or comments for this patent.
If you have personal experience with Fret for stringed instruments, we encourage you to share that experience with our LandOfFree.com community. Your opinion is very important and Fret for stringed instruments will most certainly appreciate the feedback.
Profile ID: LFUS-PAI-O-3054742