US00759845OB2

(12) United States Patent (10) Patent No.: US 7,598.450 B2

Meeks (45) Date of Patent: Oct. 6, 2009
(54) STRINGEDMUSICAL INSTRUMENT WITH 4,539,887 A 9/1985 Bjerkas .................... 84/314 R
IMPROVED METHOD AND APPARATUS FOR 4.559,861. A * 12/1985 Patty et al. ................ 84/470 R
TUNING AND SIGNAL PROCESSING 4,723.468 A 2/1988 Takabayashi et al. ......... 84f722
4,760,767 A 8, 1988 Tsurubuchi
75 5,024,134 A 6/1991 Uchiyama
(75) Inventor: tlythe Meeks, Havre de Grace, MD 5,162,603 A 11/1992 Bunker
5,343,793 A * 9/1994 Pattie .......................... 84.454
5,380,948 A 1/1995 Freimuth
(73) Assignee: Marcodi Musical Products, LLC, 5,422,430 A * 6/1995 Ikeya et al. ................... 84f626
Havre de Grace, MD (US) 5,767.429 A * 6/1998 Milano et al. ................. 84.454
- 5,920,023 A * 7/1999 Ravagni et al. ........... 84/485 R.
(*) Notice: Subject to any disclaimer, the term of this 5,977.462 A * 1 1/1999 Wolfson ...................... 84.267
patent is extended or adjusted under 35 6,009,916 A 1/2000 Kruman
U.S.C. 154(b) by 0 days. 6,271,456 B1 8/2001 Nelson ........................ 84,726
6,660,918 B1* 12/2003 Yaskoweak ....... ... 84,267
(21) Appl. No.: 11/737,377 6,998,528 B1* 2/2006 Limacher et al. .............. 84f662
7.285,710 B1 * 10/2007 Wallace ............... ... 84/454
(22) Filed: Apr. 19, 2007 2001/00298.28 A1* 10, 2001 Oudshoornet al. ........... 84.454
9 2004/0099128 A1* 5/2004 Ludwig ....................... 84f662
O O 2004/O187673 A1* 9, 2004 Stevenson .. ... 84/737
(65) Prior Publication Data 2005, OO16353 A1* 1/2005 ReierSon ... 84,314 R
US 2008/0257136A1 Oct. 23, 2008 2005/0045027 A1 3/2005 Celi et al. ..................... 84f723
(51) Int. Cl. OTHER PUBLICATIONS
GIOH 3/4 (2006.01)
PCT International Search Report, PCT/US2008/060430, Jul. 31,
(52) U.S. Cl. ............................. 84/727; 84/726; 84/737; no
84/285; 84/454
(58) Field of Classification Search ................... 84/727, * cited by examiner
84/737, 285, DIG. 30, 726,454 Primary Examiner Jeffrey Donels
See application file for complete search history. Assistant Examiner Kawing Chan
(56) References Cited
(57) ABSTRACT
U.S. PATENT DOCUMENTS
2.964,985 A * 12, 1960 Webster ... ... 84,723 A musical instrument includes a fretboard, frets aligned in a
3.134.2ss A 5, 1964 Webster ... ... 84/311 first direction on the fretboard, a number of strings, aligned in
3.756,114 A * 9/1973 Bontempi .................... 84,453 a second direction above the frets, and tensioning devices
3,783,731 A 1, 1974 Pash operable to hold the strings in tension such that the pitch of
3,986.422 A * 10, 1976 Coles .......................... 84f678 adjacent Strings at any given fret differ by one whole tone.
4,126,074 A * 1 1/1978 Lundquist .................... 84/313 Signals from String vibration pickups may be electronically
4.321,852 A 3/1982 Young, Jr. processed and amplified to modify the sound produced by the
4,372,187 A 2, 1983 Berg musical instrument.
4,377,101 A 3/1983 Santucci ...................... 84f743
4,388,852 A 6/1983 Cramer ........................ 84.284
4,530,268 A 7/1985 Starrett ........................ 84,727 22 Claims, 10 Drawing Sheets
120 122

TENSINING ANDTUNING

s KK 128

134

118
18
If s
18
16 iii.
iiii.
Iri?iii
104

110 TENSONING ANTUNING

114 USER CONTROLS
U.S. Patent Oct. 6, 2009 Sheet 1 of 10 US 7,598.450 B2

12O 122

100 N lars
108 TENSIONING AND TUNING
140 IT III ITTTTTTTTTTT H
112

1 O2

106 i
104
2 S 132

104-PPPPPPSGPC 126
104-99999999 GG2 130
IPGGGGG (ppg (
999999999999999 P. F.
PPPPPPPPP PPP t
134 (PPPPPPP PPP PPPPS
ppp.c. ( 34
E.
iii. 124
III 128

o t
III III 136
11 O
|||||||||||||||||||||Il-38
TENSIONING AND TUNING
114 USER CONTROLS

FIG. I.
U.S. Patent Oct. 6, 2009 Sheet 3 of 10 US 7,598.450 B2

3OO

FIG. 3
U.S. Patent Oct. 6, 2009 Sheet 4 of 10 US 7,598.450 B2

PRE-AMP PITCH PITCH

ANALYZER INDICATOR

FIG. 5

PITCH PITCH
PRE-AMP ANALYZER INDICATOR

PITCH
MODIFIER

FIG. 6
U.S. Patent Oct. 6, 2009 Sheet 5 of 10 US 7,598.450 B2

702 START

704 SELECT STRING

716
7O6 PLAY STRING AT ADJUST
SELECTED FRET TUNING

708 DETERMINE PITCH

ERROR

71O TURN OFF LIGHTS

71 2
PITCH ABOVE
ILLUMINATE
TARGET
FIRST LIGHT
RANGE
NO
718
PITCH BELOW
ILLUMINATE
TARGET
SECOND LIGHT
RANGE
NO
722 STOP

FIG. 7
U.S. Patent Oct. 6, 2009 Sheet 6 of 10 US 7,598.450 B2

112

112

112

112"

FIG. 8

106 - 104 - 902 104 106

PLAYING END 1 O2 902 91O

FIG. 9
U.S. Patent Oct. 6, 2009 Sheet 7 of 10 US 7,598.450 B2

1 OO6
U.S. Patent Oct. 6, 2009 Sheet 8 of 10 US 7,598.450 B2

PRE-AMP

1212
CONTACT
DETECTION
CIRCUIT

FIG. I2
U.S. Patent Oct. 6, 2009 Sheet 9 of 10 US 7,598.450 B2

106
112 502

508
PRE-AMP

1302

STRING ON/OFF SAMPLER

1318
PEDAL MEMORY
UP/DOWN
508
132O 131 O LOOP
PLAYBACK

1316

FIG. I.3
U.S. Patent Oct. 6, 2009 Sheet 10 of 10 US 7,598.450 B2

LEVEL
DECAY
ATTACK STAGE SUSTAIN
STAGE
-CHD

14O2 M S
AMPLN G
R/ V N -> --STXE
BLEND
STAGE
CHO
14O4 RELEASE

TO T1 T2 T3 T4 T5 T6 T7 T8
STRING PEDAL TIME
STRING ON OFF OFF
PEDAL ON
FIG. I.4
 US 7,598,450 B2
1. 2
STRINGEDMUSICAL INSTRUMENT WITH weaker vibration signals. While Starrett's variable-distance
IMPROVED METHOD AND APPARATUS FOR magnetic pickups help to compensate for this, by bringing
TUNING AND SIGNAL PROCESSING certain magnets within closer proximity to their respective
strings, such compensation is limited by the adverse effects of
FIELD increased magnetic pull on the strings (loss of Sustain, for
example).
This invention relates generally to the field of stringed A further disadvantage is that the use of magnetic pickups
musical instruments. requires the use of metal strings, which can be uncomfortable
to play. Additionally, magnetic pickups are commercially
BACKGROUND 10 packaged in groups of four or six with predetermined spacing
that is dissimilar from Starrett's spacing and not adjustable.
In U.S. Pat. No. 4,530.268, Starrett describes a stringed
musical instrument that embodies a matrix of intersecting BRIEF DESCRIPTION OF THE DRAWINGS
frets and strings. Strings and frets are mounted in an inter
secting relationship on a generally rectangular fingerboard. 15 The novel features believed characteristic of the invention
The strings are tuned by String tensioning means, including are set forth in the appended claims. The invention itself,
tuning pins or pegs. The string vibrations are sensed by a however, as well as the preferred mode of use, and further
magnetic pickup and the resulting signal is amplified by an objects and advantages thereof, will best be understood by
amplifier. The strings and frets each define a number of notes, reference to the following detailed description of an illustra
equal to at least the number of notes of an octave. The instru tive embodiment when read in conjunction with the accom
ment is played by depressing a string into contact with a fret. panying drawing(s), wherein:
This action is called fretting the strings. In a first scheme of FIG. 1 is a diagrammatic representation of a musical instru
modulation, multiple strings may be played along a single fret ment consistent with certain embodiments of the invention.
in a manner similar to a piano. In a second scheme of modu FIG. 2 is a table showing an exemplary tuning system for
lation, different frets are played to obtain different notes, as in 25 strings in a first region of a musical instrument consistent with
a guitar, to achieve a wide tonal range with easy fingering certain embodiments of the invention.
positions. Vertically adjustable magnetic pickups sense the FIG. 3 is a table showing an exemplary tuning system for
vibrations and are able to change the vibration sensitivity of strings in a second region of a musical instrument consistent
the instrument. with certain embodiments of the invention.
At least thirteen strings are used to represent an octave, 30 FIG. 4 is a block diagram of an exemplary panning and
each string being separated by a semitone from the next signal processing circuit in accordance with some embodi
adjacent String. Similarly, the frets intersecting a given String ments of the invention.
ascend in semitones for an octave. The strings are passed FIG. 5 is a block diagram of an exemplary signal process
across a bridge and are secured to the fingerboard by appro ing circuit, in accordance with some embodiments of the
priate tensioning means. Adjustment of the string tension is 35 invention, to aid in the tuning of a stringed musical instru
used to provide various temperaments. ment.
One disadvantage of the Starrett instrument is that to play FIG. 6 is a block diagram of a further exemplary signal
an octave interval using the first modulation scheme requires processing circuit, in accordance with Some embodiments of
that thirteen strings be spanned. Starrett discloses an octave the invention, for electronically tuning a stringed musical
span that is the same distance as an octave span on a piano. 40 instrument.
Anthropometrical analysis will reveal that intervals much FIG. 7 is a flow chart of a method, in accordance with
larger than this would be a difficult stretch from thumb to little certain embodiments of the invention, for indicating the tun
finger of the same hand. It would therefore be difficult to play ing accuracy of a stringed musical instrument.
intervals much larger than an octave with one hand. In par FIG. 8 is a block diagram of an exemplary signal Summing
ticular, it would be difficult to play open-voiced chords that 45 circuit for a musical instrument consistent with certain
span large overall intervals (such as the greater-than two embodiments of the invention.
octave chords playable on a guitar) with one hand. Moreover, FIG. 9 is a cross-section through an exemplary musical
among all possible equal-temperament tuning systems, Star instrument consistent with certain embodiments of the inven
rett's semitone tuning system requires the largest number of tion.
strings when matching the complete note range of another 50 FIG. 10 is side view of a tuning mechanism in accordance
instrument such as guitar or piano. More strings result in with some embodiments of the invention.
higher cost, a larger and heavier instrument, and longer tuning FIG. 11 is top view of a tuning mechanism in accordance
time. with some embodiments of the invention.
A still further disadvantage is that the instrument is heavy FIG. 12 is a block diagram of an electronic muting system
and difficult to carry, since it has a larger number of strings 55 in accordance with certain embodiments of the invention.
and a larger body compared to other Stringed instruments FIG. 13 is a block diagram of an electronic sustain synthe
(such as electric guitar). sizer in accordance with certain embodiments of the inven
A still further disadvantage is that notes cannot be sus tion.
tained after finger removal (using a Sustain pedal for FIG. 14 is a graph of an exemplary output from an elec
example), since the fret selection is lost when a finger is 60 tronic muting and Sustaining system in accordance with cer
removed from a string. tain embodiments of the invention.
A still further disadvantage is that when a finger is lifted
from a string, open Strings may be plucked or Sounded unin DETAILED DESCRIPTION
tentionally.
A still further disadvantage is that strings used for the 65 While this invention is susceptible of embodiment in many
highest notes must be of Smaller cross-sectional diameter differentforms, there is shown in the drawings and will herein
than those for the lowest notes and consequentially produce be described in detail one or more specific embodiments, with
 US 7,598,450 B2
3 4
the understanding that the present disclosure is to be consid ment towards each side so that the thicker Strings are nearest
ered as exemplary of the principles of the invention and not the thumbs and the thinnest strings are nearest the little fin
intended to limit the invention to the specific embodiments gers. Such an example also exploits the benefits of muscular
shown and described. In the description below, like reference symmetry as musical patterns could be played with either
numerals are used to describe the same, similar or corre hand using the same muscular motions.
sponding parts in the several views of the drawings. In accordance with Some embodiments of the present
An exemplary musical instrument consistent with certain invention, the fretboard 102 is marked with a plurality of
aspects of the present invention is shown in FIG.1. Referring markers 116 and 118 in the first region 120 (the region which
to FIG. 1, the instrument 100 comprises a fretboard 102 that utilizes a whole tone tuning system). A marker may be a
supports a number of transverse frets 104. A plurality of 10 symbol, shape, indentation, raised area, color, light, or other
strings 106 are stretched across the fretboard 102 above the identifying feature. The use of whole tone tuning system still
frets 104. In one embodiment, at least 10 strings are used. The allows a piano-like marking scheme to be used. On a piano,
strings 106 are held in tension by tensioning assemblies 108 the white keys produce the notes A through G, which are
and 110. Either assembly 108 or assembly 110, or both within the C major scale, while the black keys produce the
assemblies 108 and 110, allow a user to adjust the tension in 15 notes C#,D#, Fi, Gil and Ali, which are outside of the C major
each string to allow the instrument 100 to be tuned. In addi scale. The black keys appearin alternating clusters of two and
tion, in accordance with one embodiment of the invention, three. In an embodiment of the present invention, notes out
either assembly 108 or assembly 110, or both assemblies 108 side of a particular major scale are still represented by alter
and 110, allow a user to adjust the tension in multiple strings nating visual clusters of two and three common markers. It is
at the same time. A tensioning assembly may include ele noted that whole tone tuning and Starrett's semitone tuning
ments that are commonly used to adjust tension in other are the only equal-temperament tuning systems which allow
stringed musical instruments, such as pianos, guitars, violins for this visual clustering. The visual clustering of common
etc. For example, the tension may be increased by winding the markers can become a crucial aid to players of the instrument
string onto a spindle (such as a piano pin orpeg) or by linearly 100 who are familiar with piano, organ or other keyboard
adjusting the position of one end of the string (using a screw 25 instruments. The whole tone tuning of the present invention
for example). may be such that the notes with common markers correspond
Vibration of the strings 106 is sensed by a plurality of to notes outside of the C major scale or to notes outside of any
pickups 112. These may be magnetic pickups, as found in other selected major scale. In FIG. 1, the markers 116 indicate
electric guitars for example, piezo-electric pickups, as used to that fretting the string at that position will generate a note
amplify some acoustic guitars, optical pickups or other pick 30 within a particular major scale. The markers 118 indicate that
ups that produce a signal in response to vibration of one or fretting the string at that position will generate a note outside
more strings. The use of piezo-electric or optical pickups of that same major scale. It will be apparent to those of
allows non-ferrous strings (such as nylon strings) to be used. ordinary skill in the art that markers other than circles and
The signals from the plurality of pickups 112 may be rectangles may be used (all circles for example), and colors
passed through signal conditioning circuits, amplified and 35 other than black and white may be used. It will be further
used to drive one or more acoustic transducers to produce apparent that marking only notes within or only notes outside
Sound. of a particular major scale can still provide a useful visual aid
In accordance with one aspect of the present invention, for those players familiar with keyboard instruments. More
adjacent strings 106 are tuned to whole tone intervals in a first over, it will be apparent that an assigned attribute (such as
region 120. This is in contrast to previous tuning systems in 40 color) can Suffice as the marker for notes within a particular
which adjacent strings were tuned to semitone intervals. major scale, and a differently-assigned attribute (such as a
Thus, a musical octave spans just seven strings. Choosing different color) can suffice as the marker for notes outside of
Starrett's string spacing, as an example, a user is now able to the same major scale, still achieving the useful visual aid
span twice the musical interval of Starrett's instrument with regardless of other varying attributes (such as shape). As an
one hand. Moreover, matching the overall note range of Star 45 example of this, each note name could be assigned its own
rett's instrument requires only half the number of Strings, unique marker shape (as a further identification aid), with
reducing size, cost and weight. notes within a particular major scale displayed in white and
A hereby disclosed compromise to Starrett's octave span notes outside of same major scale displayed in black.
and associated String spacing would be a span which reduces Another alternative tuning system is one that creates a
said string spacing to the greatest extent while still allowing 50 diatonic scale along any fret. This requires a combination of
four tightly aligned fingertips of one hand to effectively play whole tone and semitone intervals between adjacent strings
four adjacent strings along a particular fret. This compromise and could conveniently mimic the white keys (notes within
would result in a string spacing similar to the width of a the scale of C major) of a piano on at least one fret. While this
human fingertip, whereby thirteen strings (an octave span on may be a particular convenience, there are two notable dis
the Starrett instrument) would span a distance of approxi 55 advantages with a diatonic tuning system. First, the visual
mately twelve fingertip widths. Even so, anthropometrical pattern of markers which denote inclusion or exclusion from
analysis will still reveal that intervals much larger than twelve a particular major scale has a far less regular repetition of
fingertip widths would be a difficult stretch from thumb to visual cues and hence note identification requires intensive
little finger of the same hand. So even a Starrett instrument memorization. Second, chord and scale shapes cannot be
with minimized string spacing would have the disadvantage 60 maintained when shifting from left to right or vice versa since
of not facilitating the playing of chords with an overall inter adjacent strings are not all tuned to the same interval. Conse
val of greater-than-two octaves (such as those playable on a quently, muscle memory cannot be utilized to the degree it
guitar) with one hand. can for a regular tuning system such as whole tone.
In the present invention, string intervals may ascend from In accordance with Some embodiments of the present
left to right (as on a piano) or from right to left. Alternatively, 65 invention, adjacent strings 132 are tuned to double whole tone
different regions of strings may ascend in different directions. intervals in a second region 122. This allows the instrument to
For example, strings may ascend from the center of the instru be played in a manner similar to a guitar (for example by
 US 7,598,450 B2
5 6
strumming). An interval of double whole tones is equal to a FIG. 4 is a block diagram of an exemplary signal process
major third interval. Since many common chords are com ing circuit in accordance with Some embodiments of the
prised of one or more third or near-third intervals (minor invention. Referring to FIG. 4, the pickup assembly 112 pro
thirds or fourths, for example), this facilitates playing a series duces a plurality of output signals that are grouped as signals
of adjacent Strings within a small range of frets to form a 402 and 404. In one embodiment, the signals 402 are from the
chord. Within a whole tone or semitone tuning system, inter first region of the musical instrument (whole tone tuning
mediate strings would too often need to be muted, resulting in system) and the signals 404 are from the second region
discontinuous strums and arpeggios. (double whole tone tuning system). However, the signals may
In accordance with Some embodiments of the present be collected in any number of groups. For example, the sig
invention, the fretboard 102 is marked with a plurality of 10 nals from the first region could be collected into high and low
markers (124,126,128 and 130) in the second region 122 (the frequency groups, giving a total of three groups. For simplic
region which utilizes a double whole tone tuning system). ity, only two groups are shown in the figure. In this embodi
Each marker corresponds to a note name. For example, in one ment, the group of signals 402 is passed through a panning
embodiment the arrow 124 denotes the note A, the diamond circuit 406. The signals are level adjusted, in accordance with
126 denotes the note D, the gear 128 denotes the note G, and 15 a first set of signal weightings, and Summed to produce a left
the crescent 130 denotes the note C. In this example, marker channel signal 408. The signals are level adjusted, in accor
names are chosen Such that their initial letters are equal to the dance with a second set of signal weightings, and Summed to
desired note name. Further in this example, not all note names produce a right channel signal 410. AS is well known to those
have assigned markers, but those that do are marked wherever of ordinary skill in the art, the relative levels of a given signal
they occur in the second region 122 of strings. Other markers, in the left and right channels determines the apparent Source
Such as the note names themselves, may be used as alterna of the sound when reproduced by a stereo audio system. For
tives. example, lower frequency Strings could be placed further to
The markers may be applied to the surface of the fretboard the left and higher frequency Strings placed further to the
102, inlaid into the fretboard or placed below a transparent right, or vice versa. The signal weightings may also be varied
fretboard. 25 in time to give an impression of a Sound Source moving with
The musical instrument may be provided with carrying time.
handles 134 to facilitate moving the instrument. The carrying Similarly, the group of signals 404 is passed through a
handles 134 may be fixed, or may fold away when not in use panning circuit 412. The signals are level adjusted, in accor
and may be placed near the center of gravity of the instrument. dance with a third set of signal weightings, and Summed to
Alternatively, handles may be formed by removing material 30 produce a left channel signal 414. The signals are level
from the body of the instrument 100 to form recesses for hand adjusted, in accordance with a fourth set of signal weightings,
placement. and summed to produce a right channel signal 416.
The instrument may be supported by a stand or a table. The signals 408 and 410 are passed through a first effects
Alternatively, the instrument may be supported by legs that processor 418 that is operable to modify the signals to pro
attach to the underside of the instrument. It will be apparent to 35 duce various stereo effects, such as reverberation, delay, dis
those of ordinary skill in the art that Support mechanisms tortion, chorus, tremolo, etc. The modified left and right chan
commonly used for Supporting keyboard instruments may be nel signals, 420 and 422 respectively, are output. Similarly,
used. the signals 414 and 416 are passed through a second stereo
The fretboard 102 may be constructed of a natural material, effects processor 424 to produce modified left and right chan
Such as wood, or of a synthetic material. Such as carbon fiber. 40 nel signals, 426 and 428 respectively as outputs.
Synthetic materials may be used to reduce the weight. A Finally, the outputs from the different regions may be com
combination of materials may also be used. For example, a bined. For example, the left channel output signals 420 and
carbon-fiber frame may be used to provide stiffness to resist 426 are combined in signal summer 430 to produce the final
the tension in the strings and a wooden playing Surface may left channel output signal 432, and the right channel output
be attached to the frame. 45 signals 422 and 428 are combined in signal Summer 434 to
At the playing end of the instrument, the strings pass over produce the final left channel output signal 436. The inclusion
a felt pad 136 and are supported above the fretboard 102 by a or exclusion of summers 430 and 434 may be determined via
nut 138. The felt pad serves to dampen unintentional vibra a user interface. Thus, the stereo outputs from the different
tion of the unfretted Strings (string not in contact with a fret). regions may be output in combination or separately. Signals
At the other end of the instrument, the strings are Supported 50 432 and 436 may be passed to Sound amplification equipment
above the fretboard 102 by a bridge 140. or recording equipment. The output signals 420,422,426 and
FIG. 2 is a table showing an exemplary tuning system for 428 may also be output to a digital signal processor or other
those strings in the first region. Each column of the table lists electronic circuits to allow for further processing. In a further
the notes obtained by playing a single string at different fret embodiment, summers 430 and 434 are replaced with mixers
positions. Each row of the table lists the notes obtained by 55 to control the mixing of signals 420 and 426 and signals 422
playing different Strings at the same fret position. Adjacent and 428.
columns correspond to adjacent strings and show that adja The panning circuits 406 and 412 and/or the effects pro
cent strings are tuned to whole tone intervals. The number of cessors 418 and 424 may be integrated into the body of the
strings and/or frets may be varied. musical instrument and may be implemented using a digital
FIG. 3 is a table showing an exemplary tuning system for 60 signal processor (DSP).
those strings in the second region. Each column of the table In one embodiment, the instrument is provided with an
lists the notes obtained by playing a single string at different AC/DC power supply. In a further embodiment, the instru
fret positions. Each row of the table lists the notes obtained by ment is powered using one or more batteries. In a still further
playing different Strings at the same fret position. Adjacent embodiment, when no signal processing is used, the instru
columns correspond to adjacent strings and show that adja 65 ment is not powered.
cent strings are tuned to double whole tone intervals. The In some embodiments of the invention, each string has its
number of strings and/or frets may be varied. own pickup that senses vibration of the string with little or no
 US 7,598,450 B2
7 8
interference from the vibration of other strings. The pickup ated with the string. In this embodiment, the pitch indicator
may be a piezo-electric pickup for example. comprises two indicator lights, such as light emitting diodes.
A plurality of amplifiers may be used to adjust the levels of At block 710, the indicator lights are switched off. At decision
the signals produced each pickup independently, so as to block 712 it is determined if the frequency of the played string
compensate for the effect of string gauge on vibration signal is above a specified range that includes the ideal frequency. If
level, or for the manufacturing variability of pickup sensitiv so, as depicted by the positive branch from decision block
ity. Similarly, a plurality of equalization circuits may be used 712, the first indicator light is illuminated at block 714. This
to adjust, independently, the equalization of the signals pro indicates to the user that the pitch of the string is to be lowered
duced by each pickup. In this way, a user has control of the and the user adjusts the tuning at block 716. If the frequency
Sound produced by each individual string. 10 is not above the range, as depicted by the negative branch
FIG. 5 is a block diagram of a musical instrument signal from decision block 712, flow continues to decision block
processing circuit consistent with certain embodiments of the 718, where it is determined if the frequency of the played
invention. Referring to FIG. 5, a pickup 112 (such as a piezo string below the specified range that includes the ideal fre
electric or optical pickup) senses motion of a string 106 of the quency. If so, as depicted by the positive branch from decision
musical instrument. The signal from the pickup is passed to a 15 block 718, the second indicator light is illuminated at block
pre-amplifier 502 and then to a pitch analyzer 504. The pitch 720. This indicates to the user that the pitch of the string is to
analyzer 504 is operable to determine the relationship be raised and the user adjusts the tuning at block 716. If the
between the frequency of oscillation of the string 106 (the frequency is not below the range, as depicted by the negative
pitch of the note produced) and a selected ideal frequency. A branch from decision block 718, the tuning process is com
pitch indicator 506 provides a visible or audible feedback to plete and terminates at block 722. The first and second lights
the user. In one embodiment the indicator is a meter. In a may be different colors. For example, the first light may be red
further embodiment the indicator is accomplished with one or and the second light blue. A third light may be added that is
more lights, such as Light Emitting Diodes (LEDs). The illuminated when the frequency of the string is within the
lights may show when the string is tuned within a specified specified range.
range, or when it is outside of the range. For example, a light 25 FIG. 8 is a block diagram of an exemplary signal process
of a first color may be illuminated if the pitch of the string is ing system for a musical instrument consistent with certain
above the specified range and a light of a second color may be embodiments of the present invention. The signal processing
illuminated if the pitch of the string is below the specified system includes a plurality of Summing circuits, each oper
range. The signal processing system may be integrated into able to sum a subset of the signals from the pickups 112 to
the musical instrument and may be enabled and disabled by a 30 produce a Summed signal as output. In the embodiment
user. The ideal frequency may correspond to the desired fre shown in FIG. 8, there are three summing circuits, 802, 804
quency of the string at a specified or predetermined fret posi and 806. Summing circuit 802 receives signals 808 from a
tion (such as the first fret). The amplified output 508 from the first subset 112 of pickups and produces an output signal 814
pre-amplifier is provided as an output for further signal pro that is a combination of the input signals 808. Similarly,
cessing. 35 summing circuit 804 receives signals 810 from a second
Multiple strings may share a single pitch analyzer and/or subset 112" of pickups and produces an output signal 816 that
pitch indicator. A processor may detect automatically which is a combination of the input signals 810 while Summing
string has been played (by comparing amplitudes and/or fre circuit 806 receives signals 812 from a third subset 112" of
quencies for example) or the user may use a selector to indi pickups and produces an output signal 818 that is a combina
cate which string is to be tuned. In a further embodiment, the 40 tion of the input signals 812. The output signals 814, 816 and
instrument may detect which String is making contact with 818 may be processed further as independent signals or may
which fret. be mixed prior to further processing.
A further embodiment of a signal processing system is FIG. 9 is a cross-section through an exemplary musical
shown in FIG. 6. In this embodiment, a relative error between instrument consistent with certain embodiments of the inven
the pitch of a string 106 (at a specified of predetermined fret 45 tion. Referring to FIG.9, the fretboard 102 supports a number
position) is determined by pitch analyzer 504 while the musi of frets 104 against which a string 106 can be fretted by a
cal instrument is in a calibration mode. The relative error is player of the instrument. In normal operation, a string, once
stored in memory 602. During normal operation of the musi played, will resonate with slowly decreasing amplitude until
cal instrument, the amplified output 508 is passed to pitch the player releases the String. In an alternative mode of opera
modification circuit 604 that modifies the pitch according to 50 tion, a player may activate a lever arm 902, by pressing the
the relative error and provides a pitch-modified signal 606 as end of the leverarm that is on the side of a fulcrum 904 closest
output. For example, if the pitch of the string is 1% too high, to the playing end of the fretboard 102. Activation of the lever
the pitch modifier shifts the signal down in frequency by 1%. arm 902 at the playing end causes the far end to rise. A
In one embodiment, multiple strings may share a single pitch dampening pad 906, made of a dampening material Such as
analyzer but individual pitch modifiers are used for each 55 felt, is attached to the far end of lever arm (the end closest to
String. the pickups) and is brought into contact with the underside of
FIG. 7 is a flow chart of a method for indicating pitch the string 106. This causes the vibration of the string 106 to
accuracy in accordance with certain embodiments of the decrease much more rapidly, resulting in a more staccato
invention. Following start block 702 in FIG. 7, the user selects note with different harmonic content. The dampening pad
a string of the musical instrument to be tuned at block 704. At 60 906 may extend across one or more strings or may extend
block 706, the user plays the selected string, either by press across all strings of the instrument. A U-shaped guide 908
ing it down (tapping) so that comes into contact with a fret or prevents excessive lateral motion of the lever arm 902. The
by holding the string down in contact with the fret and then lever arm 902 may be positioned between a pair of strings and
plucking it. At block 708, the signal processing system deter the fulcrum 904 may be taller than the frets 104 so as to raise
mines the pitcherror between the ideal frequency of the string 65 the lever arm above the frets. Alternatively, the leverarm may
when played at the selected fret and the actual frequency as be activated by other mechanisms, such as a foot pedal or a
determined by analyzing the signal from the pickup associ switch that controls an electric motor. The foot pedal may be
 US 7,598,450 B2
9 10
connected to the lever arm mechanically, or it may be an while other strings are being played. In a related embodiment,
electrical or optical Switch, for example. the strings are Supplied with a Voltage signal at one end. The
FIG. 10 is a side view of the playing end of an exemplary Voltage signal is shorted to ground if the string is fretted
musical instrument. The fretboard 102 supports frets 104. A anywhere, and the String can be muted if the Voltage signal is
nut 138 supports the strings 106 at the playing end. The string 5 detected at the far end of the string. In all of the cases
106 passes over nut 138 and through string retainer block described above, the strings and frets form a fret contact
1004. Each string is terminated with a ball end 1006 that circuit.
prevents the string from sliding through the string retainer FIG. 12 is a block diagram of an electronic muting system
block 1004. Tuning screw 1008 passes through a U-channel in accordance with certain embodiments of the invention.
support 1010. The string retainer block 1004 is threaded so 10
that rotation of the tuning screw moves the string retainer Referring to FIG. 12, a contact detection circuit 1202 is elec
block 1004 within the U-channel support 1010 to manipulate trically connected via conductor 1204 to an electrically con
the tension in the string 106. Other mechanisms for adjusting ducting bridge 1206 that Supports the strings, including string
the tension in a string will be apparent to those of ordinary 106. The contact detection circuit 1202 is also connected to
skill in the art. Felt pad 136 dampens the vibration of the 15 fret 104 via conductor 1208. In operation, the contact detec
strings from nut 138 to selected fret for fretted strings or from tion circuit 1202 detects when electrical contact is made
nut 138 to the bridge for strings that are not fretted. between the string 106 and the fret 104. Both the string and
FIG. 11 is a top view of a tuning mechanism in accordance the fret are electrically conducting. If no contact is detected,
with some embodiments of the invention. The mechanism is the Switch control signal is used to control output-muting
supported by the fretboard 102, and comprises U-channel Switch 1212 to an open position, thus preventing the sensed
1010, string retainer blocks 1004 for strings 106 and indi signal 508 from reaching output 1214. If contact is detected,
vidual tuning screws 1008. The mechanism also includes a the Switch control signal is used to control output-muting
first master tuning mechanism comprising U-bracket 1102, switch 1212 to a closed position, allowing sensed signal 508
master tuning screw 1104 and master tuning block 1106. The 25
to reach output 1214.
master tuning block 1106 is attached to the U-channel 1010 In an alternative embodiment, the contact detection circuit
and is threaded. When master tuning screw 1104 is turned, the 1202 generates a control signal 1216 to disable pre-amplifier
master tuning block 1106 and the attached U-channel 1010 502 when no contact is detected. Thus the sensed signal is
move backwards or forwards within U-bracket 1102 as indi only amplified if contact is detected. Disabling the pre-am
cated by arrow 1108. A second master tuning mechanism is 30 plifier 502 mutes the output signal 1212 and also serves to
reduce power consumption by pre-amplifier 502. This latter
positioned at the other end of the U-channel 1010. Together, feature is important when the instrument is operated using a
the first and second master tuning mechanisms allow all of the battery power Supply.
strings 106 to be tuned together. This capability is useful for In one embodiment, the instrument is provided with a
compensating for temperature changes, for example, which 35 Sustain effect. In this embodiment, when a Sustain pedal is
affect all strings in a similar manner. depressed, it triggers a DSP effect which determines which
In this example a sliding master tuning mechanism is harmonics are being played (using Fourier analysis, for
used, however it will be apparent to those of ordinary skill in example) and synthesizes those harmonics. Alternatively, the
the art that other tuning mechanisms may be used, including Sound is sampled and recorded and a periodic portion of the
singular master tuning mechanisms near the center of 40 waveform is played out in a repetitive loop. The synthesized
U-channel 1010. For example, the tuning mechanism may use signal gradually replaces the actually sensed signal by blend
a modified U-Channel 1010 with pivoting action. ing or mixing the sensed signal and the synthesized signal.
The occurrence of unintended open (unfretted) string With the sustain pedal still depressed, a slowly decreasing
plucks is reduced by using electrically conductive frets and amplitude envelope may be applied to the output signal to
strings to create a Switching network which selectively mutes 45 simulate a natural weakening of the vibration signal. Lifting
electronic signals downstream of the one or more pickups. In the Sustain pedal instantly cuts off the playback of synthe
one embodiment of the invention, the frets are interconnected sized waveforms. Alternatively, the sustained synthesized
and carry, for example, a +1V DC electric potential. When portion of the note could be gradually attenuated upon Sustain
ever any string touches any fret, this +1V signal makes its way pedal lift to emulate instruments with longer “Release” peri
to an electrically conductive nut (that Supports the Strings at 50 ods. Attack and release times may be varied by a user by use
of parameter knob or other user interface. The attack and
the playing end) or bridge (that Supports the strings at the release times may be varied together by a single control, or
opposite end). This signal may be detected to indicate that at separately.
least one of the Strings is being fretted. If no strings are fretted, In an alternative embodiment, a Sustain effect is achieved
outputs of the instrument are electronically muted, hence 55 using individual fretted/unfretted Status of each string (as
masking any open string vibrations. described above, using strings which are electrically isolated
In an alternative embodiment, the frets are interconnected when unfretted). Each fretted String is assigned a permanent
and carry a +1V signal as described. Each string is isolated or real-time selected waveform generator, which is used to
from the bridge, nut and U-channel using insulating isolators generate a synthetic version of the played note. The synthetic
or a non-conductive bridge, nut and U-channel. The transfer 60 version may be achieved efficiently using a sample loop, for
of the electrical signal is then detected in each string indepen example. The synthetic Sustain could also be equalized dif
dently. String signals are individually muted (electronically) ferently than the played note to provide tonal variety. Blend
when they do not carry the +1V potential. Un-muting begins ing the synthesized Sustain happens quickly once a note is
once the String starts carrying the +1 V potential again and this played and the Sustain pedal is depressed. Once in synthesis
could be implemented as a time-varied signal ramp-up to vary 65 playback, a slowly decreasing amplitude envelope is applied
the musical “attack” of each fretted note. This approach to its waveform generator. Lifting the Sustain pedal triggers
requires additional circuitry, but allows one string to be muted the release portion of the amplitude envelope.
 US 7,598,450 B2
11 12
TABLE 1.
Sustain Pedal Functions.

String 1
Foot String 1 Fret
Pedal Finger 1 Vibration Contact SV1 Mute Sampler Output
Time Action (SV1) Circuit Function Status Signal
1 UP (none) (none) O PEN MUTED STANDBY MUTED
UP FRET ATTACK C LOSED UNMUTED STANDBY SV1
STRING 1 ST TAGE (UNMUTED)
UP HOLD D ECAY C LOSED UNMUTED STANDBY SV1
DOWN ST TAGE (UNMUTED)
STRING 1
UP HOLD SUSTAIN LOSED UNMUTED STANDBY SV1
DOWN S TAGE (UNMUTED)
STRING 1
UP LIFT OFF ESIDUAL PEN MUTED STANDBY MUTED
STRING 1 PENSTRING
BRATION
UP (none) ESIDUAL PEN MUTED STANDBY MUTED
PENSTRING
BRATION
10 DOWN (none) one) PEN MUTED RESET MUTED
11 DOWN FRET ATTACK LOSED UNMUTED SV1
STRING 1 ST TAGE (UNMUTED)
12 DOWN HOLD D ECAY LOSED UNMUTED STANDBY SV1
DOWN ST TAGE (UNMUTED)
STRING 1
13 DOWN HOLD SUSTAIN LOSED UNMUTED SAMPLING SV1
DOWN S TAGE (UNMUTED)
STRING 1
14 DOWN HOLD SUSTAIN LOSED UNMUTED LOOP GRADUAL
DOWN ST TAGE PLAY BLEND
STRING 1 FROM SV1
TO
SAMPLER
15 DOWN HOLD SUSTAIN LOSED UNMUTED LOOP SAMPLER
DOWN S TAGE PLAY
STRING 1
16 DOWN LIFT OFF ESIDUAL PEN MUTED LOOP SAMPLER
STRING 1 PENSTRING PLAY,
BRATION
17 DOWN (none) ESIDUAL PEN MUTED LOOP SAMPLER
PENSTRING PLAY
BRATION
18 DOWN FRET TTACK LOSED UNMUTED RESET SV1
STRING 1 TAGE (UNMUTED)
19 DOWN HOLD ECAY LOSED UNMUTED STANDBY SV1
DOWN ST TAGE (UNMUTED)
STRING 1
DOWN HOLD SUSTAIN LOSED UNMUTED SAMPLING SV1
DOWN ST TAGE (UNMUTED)
STRING 1
21 DOWN HOLD SUSTAIN LOSED UNMUTED LOOP GRADUAL
DOWN ST TAGE PLAY BLEND
STRING 1 FROM SV1
TO
SAMPLER
22 DOWN HOLD SUSTAIN LOSED UNMUTED LOOP SAMPLER
DOWN STAGE PLAY
STRING 1
23 DOWN LIFT OFF RESIDUAL PEN MUTED LOOP SAMPLER
STRING 1 OPENSTRING PLAY
VIBRATION
24 DOWN (none) RESIDUAL PEN MUTED LOOP SAMPLER
OPENSTRING PLAY
VIBRATION
25 UP (none) (none) PEN MUTED LOOP SAMPLER
PLAY,
RELEASE
STAGE
26 UP (none) (none) PEN MUTED RESET MUTED
30 UP (none) RESIDUAL PEN MUTED STANDBY SAMPLER
OPENSTRING
VIBRATION
31 UP FRET ATTACK LOSED UNMUTED STANDBY SV1
STRING 1 STAGE (UNMUTED)
 US 7,598,450 B2
13 14
TABLE 1-continued
Sustain Pedal Functions.

String 1
Foot String 1 Fret
Pedal Finger 1 Vibration Contact SV1 Mute Sampler Output
Time Pos. Action (SV1) Circuit Function Status Signal
32 UP HOLD DECAY CLOSED UNMUTED STANDBY SV1
DOWN STAGE (UNMUTED)
STRING 1
33 DOWN HOLD SUSTAIN CLOSED UNMUTED SAMPLING SV1
DOWN STAGE (UNMUTED)
STRING 1
34 DOWN HOLD SUSTAIN CLOSED UNMUTED LOOP GRADUAL
DOWN STAGE PLAY BLEND
STRING 1 FROM SV1
TO
SAMPLER
35 UP HOLD SUSTAIN CLOSED UNMUTED LOOP SV1
DOWN STAGE PLAY (UNMUTED)
STRING 1
36 DOWN HOLD SUSTAIN CLOSED UNMUTED LOOP SAMPLER
DOWN STAGE PLAY
STRING 1
37 DOWN LIFT OFF RESIDUAL OPEN MUTED LOOP SAMPLER
STRING 1 OPENSTRING PLAY
VIBRATION
38 DOWN (none) RESIDUAL OPEN MUTED LOOP SAMPLER
OPENSTRING PLAY
VIBRATION
39 UP (none) (none) OPEN MUTED LOOP SAMPLER
PLAY,
RELEASE
STAGE
40 UP (none) (none) OPEN MUTED RESET MUTED

Table 1 shows examples of the effects of the sustain pedal. output signal is gradually blended to a mixture of the string
Referring to Table 1, during time periods 1-6 the sustain pedal 35 vibration signal and sampler loop output (the synthesized
is in the up position, i.e. the pedal is not depressed. In time signal).
period 1, no string is being played. There is not string vibra In time period 15, the string vibration signal decreases
tion, and the fret contact circuit is open, since no strings are farther (a natural or electronically-forced fade) and the output
fretted. The string vibration mute function (SV1 mute func becomes equal to the sampler loop output signal only.
40
tion) is activated, that is, in muted mode. The sampler used to In time period 16, the finger is lifted from the string and the
create the synthetic is in standby status and the output signal gradually decreasing sampler output continues. This contin
is muted. ues through time period 17.
In time period 2, a string is fretted, so the String vibration is In time periods 18-24 the process in time periods 11-17 is
in the attack stage and the fret contact circuit is closed. Fret 45
repeated, with sampler being reset in time period 18 (trig
circuit closure un-mutes the signal from the string and the gered by a Subsequent fretting the string).
string signal is passed to the output. Intime period 25, the sustain pedal is lifted or released. The
In time period 3, the string is still held against the fret, and sampler loop output enters a release stage of more rapid
the string vibration is in the decay stage. amplitude reduction. After the release stage, in time period
In time period 4, the string is still held against the fret, and 50 25, the sampler may be reset.
the string vibration is in the Sustain stage, but since the Sustain In time periods 30-40, the process in repeated, but in this
pedal is still up, only the String signal is passed to the output. example the Sustain pedal in not depressed until time period
In time period5, the string is released, which opens the fret 33. This is during the sustain period of a note, so the sampler
contact circuit and causes further outputs to be muted. is activated to sample the String vibration signal. Also, at time
In time period 6, there is no further finger action. Although 55 period 35 a brief pedal release is introduced, during which the
residual open String vibration may exist, it is muted. output signal quickly toggles from sampler to SV1 and back
again to Sampler.
Time periods 10-24, show a similar scenario but with the FIG. 13 is a block diagram of an electronic sustain synthe
Sustain pedal depressed. The pedal is depressed in time period sizer in accordance with certain embodiments of the inven
10, which resets the sampler. 60 tion. The sustain synthesizer 1302 includes a signal sampler
Time periods 11-13 mimic time periods 2-4 described 1304, a memory 1306, a loop playback device 1308, a timer
above and only the string vibration signal is passed to the 1310 and a signal mixer 1312. The signal mixer 1312 takes
output. the loop playback device output 1314 and mixes it with
In time period 13, the sampler samples a portion of the sensed signal 508 to produce sustained output signal 1316. In
string vibration signal. 65 operation, vibration of a string 106 is sensed by pickup 112
In time period 14, as the string vibration decays, the and amplified in pre-amplifier 502 to produce sensed signal
sampled string vibration signal is played out in a loop. The 508 that is supplied to the sustain synthesizer 1302. As
 US 7,598,450 B2
15 16
described above with reference to table 1, operation of the wherein the plurality of markers distinguish notes within a
Sustain synthesizer 1302 is dependent upon the String status, particular major scale from notes outside of the major
as indicated by String on/off input signal 1318, and upon the Scale, and
Sustain-pedal position as indicated by pedal up/down signal wherein notes outside of the major scale are grouped in
1320. Timer 1310 is used to delay sampling until after the 5 clusters of two along a fret of a first set of frets and in
initial attack and decay phase of the string vibration. It is clusters of three along a fret of a second set of frets, the
also used to control the mixing levels of the loop playback frets of the first and second set offrets being interleaved.
device output 1314 and sensed signal 508 as a function of 2. A musical instrument in accordance with claim 1,
time to provide the remaining desired amplitude envelope. wherein the frets are spaced on the fretboard such that a string
FIG. 14 is a graph of an exemplary output from an elec 10 fretted at a first fret produces a note one semitone away from
tronic muting and Sustaining system in accordance with cer the same String fretted at an adjacent fret.
tain embodiments of the invention. Referring to FIG. 14, the 3. A musical instrument in accordance with claim 1, further
Vertical axis denotes the signal level (amplitude envelope) of comprising:
the output while the horizontal axis denotes time. A string is a plurality of pickups each operable to produce a signal in
fretted at time T0. The output from the pickup associated with 15 response to vibration of a string of the first plurality of
the string is shown as broken line 1402. In the time period Strings.
from T0 to T1, the string is an in attackstage where the level 4. A musical instrument in accordance with claim3, further
is increasing rapidly. During the time period T1 to T2 the comprising:
string is an in decay stage where the level is decreasing a first panning circuit, operable to weight at least Some of
rapidly. During the time period T2 to T8 the string is an in the signals from the plurality of pickups, in accordance
Sustain stage where the level is decreasing more slowly. At with a first weighting, to produce first weighted signals
time T0 the string output is muted (attenuated) so that the and to Sum the first weighted signals to produce a left
system output 1404 is Zero. During the time period from T0 to channel signal and further operable to weight at least
T2, the string output is gradually muted less, until at time T2 Some of the signals from the plurality of pickups, in
the full string output is used as the system output. During time 25
accordance with a second weighting, to produce second
period T2 to T3 the full string output is used. In this time weighted signals and to Sum the second weighted signals
period, transients associated with the initial playing of the to produce a right channel signal.
string have decayed, and the string output is sampled during 5. A musical instrument inaccordance with claim3, further
the time period T2 to T3. The sampled waveform is substan comprising:
tially periodic and may be used to generate a synthetic signal. 30
an effects processor operable to modify the signals from
During time period T3 to T4, a synthetic signal is generated the plurality of pickups and produce at least one modi
and gradually mixed or blended with the string output. The fied signal.
string output component 1406 is reduced while the synthetic 6. A musical instrument in accordance with claim 5.
output component 1408 is increased proportionately so that wherein the effects processor comprises a digital signal pro
the overall output 1404 is close to the non-muted string out 35
CSSO.
put. From time T4 to time T8, the system output 1404 is 7. A musical instrument inaccordance with claim3, further
purely synthetic. Thus, even if the played string were released comprising:
(at time T5, say) it would not affect the system output. The a plurality of Summing circuits, each operable to Sum a
broken line 1402 assumes that no string release has occurred. Subset of the signals from the plurality of pickups to
The amplitude reduction rate of the synthetic output may be 40
produce a Summed signal as output.
chosen to simulate the natural decay of the string or may be 8. A musical instrument inaccordance with claim3, further
higher or lower. At time T6, the sustain pedal is released, and comprising:
the synthetic output is reduced more rapidly during a release a pitch analyzer receiving the signal from a pickup of the
stage from time T6 to time T7. plurality of pickups as input and operable to compare the
While the invention has been described in conjunction with 45
pitch of a played string to a reference frequency; and
specific embodiments, it is evident that many alternatives, a pitch indicator, responsive to the pitch analyzer, and
modifications, permutations and variations will become operable to indicate to a user of the musical instrument if
apparent to those of ordinary skill in the art in light of the the played string is tuned to the reference frequency.
foregoing description. Accordingly, it is intended that the
present invention embrace all Such alternatives, modifications 50 9. A musical instrument in accordance with claim 8,
and variations as fall within the scope of the appended claims. wherein the pitch indicator comprises at least one light.
10. A musical instrument in accordance with claim 8,
What is claimed is: wherein the pitch indicator comprises:
1. A musical instrument comprising: a first light that is illuminated if the pitch of the played note
a fretboard; 55 is too high; and
a plurality of frets aligned in a first direction on the fret a second light that is illuminated if the pitch of the played
board; note is too low.
a first plurality of Strings aligned in a second direction 11. A musical instrument in accordance with claim 3, fur
above the plurality of frets, the second direction being ther comprising:
substantially perpendicular to the first direction; 60 a pitch analyzer receiving the signal from a pickup of the
a first plurality of tensioning devices operable to hold the plurality of pickups as input and operable to determine a
first plurality of strings intension Such that the pitches of pitch error between the pitch of a played String and a
adjacent strings of the first plurality of strings differ by reference frequency; and
one whole tone and a pitch modifier responsive to the signal from the pickup
a plurality of markers fixed to the fretboard, each located in 65 and operable to modify the signal from the pickup to
proximity to an intersection of a fret of the plurality of alter the pitch of the signal in accordance with the pitch
frets and a string of the plurality of strings; eO.
 US 7,598,450 B2
17 18
12. A musical instrument in accordance with claim 3, fur pitch of adjacent strings within the second plurality of
ther comprising: strings differ by two whole tones.
a plurality of amplifiers operable to adjust independently 17. A musical instrument in accordance with claim 16,
the levels of the signals produced by the plurality of wherein the fretboard is marked with a first marker in prox
pickups. 5 imity to each intersection of a fret and a string of the second
13. A musical instrument in accordance with claim 1, plurality of Strings if the note produced by fretting a string
wherein the fretboard is marked with a first marker in prox thereupon is a first note or an octave interval of the first note.
imity to each intersection of a fret and a string of the first 18. A musical instrument in accordance with claim 16,
plurality of strings if the note produced by fretting the string further comprising: a plurality of pickups each operable to
thereupon, corresponds to a note outside of a particular major 10 produce a signal in response to vibration of a string selected
scale. from one of the first plurality of strings or the second plurality
of strings.
14. A musical instrument in accordance with claim 13, 19. A musical instrument in accordance with claim 1, fur
wherein the fretboard is further marked with a second marker ther comprising: a master tensioning device coupled to the
in proximity to each intersection of a fret and a string of the 15 first plurality of strings and operable to adjust simultaneously
first plurality of strings if the note produced by fretting the the tension in all of the first plurality of strings.
string thereupon corresponds to a note within the same major 20. A musical instrument in accordance with claim 1, fur
scale. ther comprising: at least one carrying handle positioned near
15. A musical instrument in accordance with claim 1, the center of gravity of the instrument.
wherein the fretboard is marked with a first marker in prox 21. A musical instrument in accordance with claim 1, fur
imity to each intersection of a fret and a string of the first ther comprising:
plurality of strings if the note produced by fretting the string a bridge that Supports the plurality of strings above the
thereupon corresponds to a note within a particular major fretboard; and
scale. a dampening pad between the bridge and the closest fret to
16. A musical instrument in accordance with claim 1, fur 25 the bridge operable to contact at least one string of the
ther comprising: first plurality of strings and thereby decrease vibration of
a second plurality of strings aligned in the second direction the at least one string.
above the plurality of frets, the second direction being 22. A musical instrument in accordance with claim 21,
substantially perpendicular to the first direction; and wherein the dampening pad is attached to one end of a lever
a second plurality of tensioning devices operable to hold 30 arm that may be activated by a user of the musical instrument.
the second plurality of strings in tension such that the k k k k k