Music – Instruments – Stringed
Reexamination Certificate
2002-11-15
2004-08-17
Lockett, Kimberly (Department: 2837)
Music
Instruments
Stringed
C084S320000
Reexamination Certificate
active
06777602
ABSTRACT:
FIELD OF THE INVENTION
The present invention relates generally to a guitar pick or a plectrum for use with a stringed musical instrument, and more particularly, to an improved plectrum for use with a stringed musical instrument.
BACKGROUND OF THE INVENTION
In playing a guitar, bass guitar, or other stringed musical instrument, a musician will typically use a pick or plectrum to pluck one or more strings of the instrument, thus effecting vibration in the strings of the instrument, thus effecting vibrations in the strings and thereby generating sounds and tones. Quite apart from any particular musical notes that may be sounded, the tones produced will vary inter alia according to a thickness of the plectrum employed and an inherent flexibility of a material from which the plectrum is constructed. As such, in selecting the particular material and thickness of the plectrum to be used, the musician must consider whether he wishes to produce soft and mellow tones, such as those that are known to be produced by relatively thick and rigid plectra and that are generally preferred inter alia when playing chords, when playing in a rhythm position, and when playing the bass guitar, or alternately whether he wants to generate share and crisp tones, such as those that are known to be produced by relatively thin and flexible plectra and that are typically desirable inter alia when picking melodies and when playing in a lead guitar position.
As well, in contemporary times, the musician is frequently called upon to produce a number of different tones in a single performance. In fact, it is not uncommon for today's performing musician to need to produce three or more different tones within a span of the performance. That is, depending on the complexity and arrangement of a particular song or set list, the modem musician may, for example, be required to switch from the lead to the rhythm guitar position, or may even need to change instruments altogether, perhaps playing the bass guitar as well. Further, with an anxious and discerning audience listening, changes between the different tones sometimes need to occur within very short periods of time, such as, for example, from one song to the next, or even within the course of a single song.
In the past, when musicians needed to produce these different tones in their respective performance, they would commonly equip themselves with a number of different plectra, each being of a different single thickness and material of construction, as appropriate. However, since the old adage “the show must go on” remains as true today as ever, even the musician that only expects to play a single type of tone will ordinarily carry more than one plectrum, so as to have a backup pick readily available if needed. Carrying a number of plectra is an already cumbersome task for a stage-weary guitarist, and when the musician is further required to keep track of where he has placed a number of different types of plectra, either on his person or on a dimly lit stage, the significant possibility exists that a particular desired plectrum might be misplaced or misidentified at the very moment that it is required.
As such, a number of different approaches have been taken to provide multi-tonal picks of consolidated construction, such as, for example, plectra that are constructed from two different materials in bonded relation. An example of such a device may be seen in U.S. Pat. No. 5,271,309 (Balog) for a Soft Attack Guitar Pick. The Balog patent discloses a pick formed by inserting a hard plastic pick into a hard felt one, and thereafter bonding the two picks together with a silicone adhesive. However, the Balog pick suffers from a significant problem insofar as it is capable of producing only two different types of tones. Further, plectra such as that disclosed by Balog are also subject to the distinct possibility that the two bonded picks may become detached from each other, possibly even at a quite inopportune time, with the result being that the performance may be interrupted and the listening audience may become displeased or irritated.
Plectra having more than one playing point of different relative thicknesses have also been developed to address this problem. One such device may be seen in U.S. Pat. No. 2,449,890 (Garlick) for a Pick For Stringed Instruments. The Garlick Patent discloses a pick of singular and generally planar construction that has two opposing faces arranged in converging relation from an intermediate point to one and thereof so as to provide two opposite string engaging ends of different relative thicknesses. Once again, as with the Balog patent discussed above, the device disclosed by Garlick is capable of producing only two different tones. Furthermore, it is not possible to adapt the Garlick design, having two converging faces, to provide a pick capable of playing any more than two different tones. Thus, the pick disclosed by Garlick would have little or no utility to a musician that is called upon to play, for example, in both the lead and rhythm guitar positions and on more than one instrument within the span of the performance.
Another device that has been developed with two or more playing points of different relative thicknesses may be seen in U.S. Pat. No. 2,481,759 (Lawrence) for a Plectrum With Two Playing Points. The Lawrence patent discloses a plectrum with two playing numbs of different thicknesses that are arranged closely together so that both may be brought into play at the same time. The disclosure of the Lawrence patent also claims that either one of the playing numbs may be used separately from the other. However, a significant problem with the Lawrence plectrum remains that, because the playing nubs are arranged sufficiently close to each other that they may be brought to bear against the strings of the musical instrument at the same time, it takes a great deal of control and skill on the part of the performing musician to accurately draw the plectrum across the strings in such a manner that only one of the nubs makes contact therewith. Accordingly, the Lawrence device requires that the performing musician be of a certain advanced level of ability in order to exert the appropriate control over the plectrum. The limitations inherent in this requirement are further exacerbated when one considers that even a skilled musician may become tired and stage-weary at the end of a long performance, with a consequent loss of control over the plectrum, such that both of the playing nubs of the Lawrence plectrum may inadvertently contact the stringed instrument and thus produce multiple tones at an inappropriate time. As such, a significant problem with the Lawrence device is the difficulty experienced by musicians in attempting to use same to produce single-toned notes.
Yet another device that has been developed to produce two different relative tones may be seen in U.S. Pat. No. 3,439,570 (Lee) for a Stringed Musical Instrument Having a Slidably Mounted Neck. The Lee patent discloses inter alia a novel pick construction that has opposing flexible narrow pick fingers of different size and flexibility. However, even aside from its significant structural disadvantages when compared with standard plectra, the Lee pick is specifically designed only for use with stringed musical instruments having a corresponding pick guide, and as such, it has little or no utility when employed apart therefrom.
A still further device that has been developed to provide a single pick capable of producing a number of different relative tones may be seen in U.S. Pat. No. 4,228,719 (Keene) for a Plectrum For Stringed Musical Instruments. The Keene plectrum discloses a substantially planar pick constructed of a single material and having three plucking corners, with two or more of said plucking corners having respectively different sized holes formed adjacent thereto, so as to provide each with a different respective flexibility and resiliency. While the Keene plectrum is capable of producing three different tones, its structural integrity is reduced by the hole
Hautamaki Glenn J.
Lyell Raymond R.
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