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  • U.S. Patent 9,171,528, Entitled "Carbon Fiber Guitar"-To Seal, Issued Oct. 27, 2015.

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    U.S. Patent 9,171,528, entitled "Carbon Fiber Guitar"-to Seal, issued Oct. 27, 2015.

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    U.S. Patent 9,171,528, entitled "Carbon Fiber Guitar"-to Seal, issued Oct. 27, 2015.

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    U.S. Patent 9,171,528, entitled "Carbon Fiber Guitar"-to Seal, issued Oct. 27, 2015.

    Авторское право:

    © All Rights Reserved
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    Отметить как неприемлемый контент
    53 просмотров22 страницы

    U.S. Patent 9,171,528, Entitled "Carbon Fiber Guitar"-To Seal, Issued Oct. 27, 2015.

    Загружено:

    Anonymous a7S1qyX
    U.S. Patent 9,171,528, entitled "Carbon Fiber Guitar"-to Seal, issued Oct. 27, 2015.

    Авторское право:

    © All Rights Reserved
    Скачайте в формате PDF или читайте онлайн в Scribd
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    '$009171528B2 «2 United States Patent 10) Patent No: US 9,171,528 B2 Seal (4s) Date of Patent: Oct. 27, 2015 (4). CARBON FIBER GUITAR aanaer Feller suo tomar tiber 2et2st (71). Applicant: MCP 1, LLC, Spars, WI (US) Banker ta wp (72) lnvetor: Elis. Sea, Bay Sait Louis, MS (US) Dee ii oar Rose DR (73) Assignee: MCP I, LLC, Spr, WE (US) Nason Sti cal #283 (#) Notice: Subject ay dslaimer, the em ofthis anno : pata is exnded or ase unde 35 thio an US.C. 154(b) by 0 days. ‘Steinberger 84293 Mae Mon (21) Appl. Nos 141090479 112004 MePhison 52008 Shih ea May ter 112005 Meron Mon - (Continue) ©) See apap OTHER PUBLICATIONS. US 2014014830681 May 29,2014 US ApplNo. 1408554 eet 16201, imentr ls: Sl Related US. Application Data “Tongan oat oaNox, Peary Examiner —Robert W Hom (0) Provisional ppition No. 178018, leon Now. 24) srry, get, or Frm — Vidas, Ant & Stinks cote 6 ABSTRACT crop 0 (2006.01) Astrnged musical inseumet as molded sound box and Gm vm {2006 01) deck whee the sound bonis formed of between 20% 0 60% G10 108 (2008.01) carbon fibers or ter sible ers, anda polymere resinor G10 6 (2006.01) Diner The composition of materials ized inte sound box (52) US. CL is selected to increase stiffness and to control the tone of the cre G10D 1/005 2013.01), G10D 18 gsament Te sound bx includes an adjustable tachment 2013.01}; G10D 206 (2013.01) pechanism having a pivot which is used wo secure the neck 19 (8) ied of Chassication Search the sound box, The sound box ocudes @ molded bracing cee G10D 406; G1OD 3/04; G1OD 302 structure having a plurality of braces and a molded bridge See application le for complete search history. faving plurality of pockets which are sed to enhance the “ References Cited strctre fr the sound box and provide a desired tone quay US, PATENT DOCUMENTS 71965 Daniel 41980 Kaman i293 DA BAS 8193 forthe stringed instrument. The neck may include & molded rock insert and molded fingerboaad which are used to enhance the stifivess and stability ofthe neck, 14 Claims, 5 Drawing Sheets US 9,171,528 B2 ee (56) References Cited 7,816,592 B2* 102010 Babicz 84/293 CR Bee eh ne aes 10307 At ona sane SURI A te ao B08 Kreger MBS yigotainos ale $2014 Sal M1 aes MON *ielhy mio US. Patent Oct. 27, 2015 Sheet 1 of 5 US 9,171,528 B2 US. Patent Oct. 27, 2015 Sheet 2 of 5 US 9,171,528 B2 US. Patent Oct. 27, 2015 Sheet 3 of 5 US 9,171,528 B2 US. Patent Oct. 27, 2015 Sheet 4 of 5 US 9,171,528 B2 US. Patent Oct. 27, 2015 Sheet 5 of 5 US 9,171,528 B2 US 9,171,528 B2 1 ‘CARBON FIBER GUITAR (CROSS REFERENCE TO RELATED "APPLICATIONS ‘This application claims the benefit of provisional patent application Ser. No. 61/730,181fledon Nov. 27,2012 which is incorporated heeein by reference i its eatin. FIELD OF THE INVENTION ‘The invention, in at least one embodiment, is directed to stringed musica instruments which include guitars. and more specifically to structural features that make instruments ston- sr easier to manufacture andor sound better. “The present invention relates toa guitar or other stringed ‘musical instrument having a sound box, and more particu larly, the present invention relates to @ unique sound box, soundboard, bracing structure, bridge, neck, and other parts, forthe stringed musical instrument, where the Various pats ‘may be formes of earbon or other suitable fibers BACKGROUND OF THE INVENTION Guitars are one example of stringed musical instruments. Carbon fer has been use in various portions of stringed instruments since the 1970s. In the past, the bodies of the stringed instrument have been formed of earbon fiber lami tates which are generally tif and light, however fiber lami rates donot generally have the acoustic characteristics esird by those who are used to the sound of wood. The satura acoustic characteristics of carbon laminates cause the instrument to tend to sound metallic, and lack the warmth of ‘wood. in adition, solid carbon fiber laminates havea higher ensity as compared to wood, and fora given weight, have significantly lower bending stfivess. Therefore using carbon, fiber inthe design of portions of stringed instrument in order to providea desired acoustic response, tone, and fel of wood, isa cllenge Inthe past, carbon fiber instrument builders have used contanous, lng fier reinforced materials make the insteu- ‘mens. Manufacturing with these materials has been very costly, using high cost raw materials ax requiring labor {tensive meticulous human cratsmanship in the laminating process. This is particularly true in making the instrument sound box or body, or portion ofthe instrument to which the soundboaed is attached, whichis primarily for coataning 3 volume of arto allow the creation of a Helmbolt resonator In the past, stringed musical instruments have been made from injection molded plastics, Due to the inferior structural ‘and sonic esponse ofthese materials, these instruments are ‘generally not preferred by most musicians ‘Many dierent variations of wood and carbon fiber have ‘been altempted in onder to provide an acceptable level of performance with respect w vibration, structural integrity, acoustic response, tone, and fel for a stringed instrument The use of altemative materials in the formation of sound boxes or soundboard, in many instance, has resulted in an instrument which is over damped. In addition, in many instances where carbon or other materials have been used in the formation of the soundboard or sound box, the sound ‘boar orsoundbox isoverly thin, causing the instrument tobe prone to damage upon exposure to minor impacts A ypical acoustic guitar as hollow body or sound box. connected t© a nock. A soundboard with a sound hole is ‘tached to the sound box. baek or bottom board is paced w x“ s 2 fromthe soundboard, anda shaped side wall extends between the soundboard ad hackhoard A stringed musical insiument has series of strings strung tsobstantia tension froma bridge on the soundboard, across the soundboard proximate to sound bole, and slong the neck. The string tension ereates forces which act on the soundboara and which, overtime, may cause bending, crack- ing ootherdamage'o thesouadhoard Thedamoge can rest in inetural flue and alered intonation of the srnged ‘musical instrament. As such, the sound box, must be con- structed ina eave strong and stable manne, without making itt heavy, or iting its response. In high quality stingd mascal instruments, the sound- ‘aed must be capable vibration ta pve superior e008 tie performance while being rigid 0 that it withstands the forces ercated by the tensioned strings. These requirements axeatems- purposes, and have been Very dill a achiev, paticulary when the soundboard isconsrctd froma mate- ‘al other than choice wooden materi ‘Sting musica instruments are also consrcte sa to amplify the sound wave prxtuced by the vibration of the stings vina resonance body. Te sound wave created by the Vibrating strings is fatoduced into the resoninee body throug the bridge provided on the soundboard. Inside the resonance bods the sound waves esounded and ampli Ir the resonance body is nt constructed corey, te sound ‘may be emited in a muffled or dampened manner. The present invention provides for uiformity'in the con- struction ofa tinged instrument, which in eonjuntion with te sound box delivers clean, brian sound. The construc tion ofthe steiaged instrument provides foe easie and more conoaical manufatue whea sate of the art equipment is wed Generally, arash is present ina singed musical ‘nsirumeat betwee the mass the soundboard Vibe tion of strings. Generals the higher the mass ofthe sound ‘oad (assuming constant stiness), the lower te amplitude cf vbration fom a given srng input. The lower the amphi tude of vibration produced by the soundboard, the lower he volume of the iestrument ls, mass in the soundboard recess; for ahigher mas, more energy is dsipated. in every vibration eyes, and te string energy, soundcard ‘vibration, andvolume decrease faster resulting inles sustain AIIUS. patents ad applications al otee published doc sments mentioned anywhere in ths application ae incorpo- ‘ated herein by reference in heir enireties Without limiting the scope ofthe ivention in any ay. the iveaton i bielly suumariza in some o its aspects Below ‘heart refered to andor described aboveisntintendedto constitute an adision hat any’ patent, publication oer information refered to herein is “prior a wil respect to this invention. BRIEF DESCRIPTION OF THE DRAWINGS FIG. 1is an exploded isometric view of one alteative embodiment ofa stringed musical instrament. FIG. 2 is a detail perspective view of one altemative ‘embodiment of an instrument nock and sound box of a stringed musical instrument, FIG. 3 is a detail perspective view of one sltemative ‘embodiment of an instrument neck and sound box of a stringed instrumeat. FIG. disadetil sie view ofahel and neck mounting area of one altemative embodiment of a stinged musical insta US 9,171,528 B2 3 FIG. $ is an exploded isometric view of one altemative embodiment of. fretboard or fingerboard ofa stringed mus cal instrument FIG. 6A is detail bottom view of one alternative embod ‘ment ofa bracing structure ofa stringed musical instrument FIG. 6B isa etal botiom view of onealterative embodi- ment ofa bracing stroctre ofa stringed musica instrument. FIG. 6C isa detail botiom view of one alternative embodi- ment ofa bracing stroctre ofa stringed musica instrument. FIG. 6D isadetail bottom view of one alternative embod ‘ment ofa bracing structure ofa stringed musical instrument IG. Tisa detail perspective view ofthe top of abridge of| ‘one altemative embodiment of stringed musical instrument. FIG. Bisa deal perspective view of the bottom ofabridge of one altematve embodiment ofa stringed musical instru- ment FIG. 9 is a detail perspective view of one alternative embodiment ofa neck and heel ofa stringed musical instru- ‘ment FIG. 10 is a detail exploded isometric view of one alterna tive embodimeat of @ neck mounting ares aad heel of a stringed musical instrument BRIEF SUMMARY OF THE INVENTION Inne embodiment, the invention i directed to the wse of ‘materials which provide significant oost savings during the ‘munuficture of stringed musical instruments. Specifically, ‘hisinvention ina east one embodiment i directed to theuse of sho, discontinuous eatboo, fiber o other suitable fer ‘composites for stringed musica instrument sound boxes. The term “composite” here is used t0 desribe a mixture of a reinforcing fiber anda polymeric matix ae binder that holds the reinforcing fbes in place and causes the fibers to aet or function together, to provide a desired acoustic response. In some embodiments, the invention is alo directed to a ‘method of manufacture, whereby the fiber composites are ‘molded using a mold or die that forms both inner and outer surfaces forthe elements ofthe stringed musical instrument ‘ad particulary the sound box, In some embodiments, the length of carbon fiber or other suitable fiber is frm 02005" to 1.0"—which allows forthe ‘material to maintain some ofthe silaess characteristics of the carbon fiber, or ater suitable ier, inte performance of the final composite. In genera, the longer he fiber, the better the performance. In other embodiments, the fibers may be shorter than 0.005" and longer than 1.0" In some alternative embodiments, the content of carbon fiber or ther suitable fiber is from 10% 10 60% which facilitates optimal processing and is suficent o provide the desired strength and siffbess for the tinged instrument In cther embodiments, the carbon fiber or other suitable fer content is 20% to 0% In some slterative embodiments the carbon fiber or other suitable fiber content is 30% to 40% which provides a desired balance between optimal process- ‘ng, structural performance and acoustic perfomance for the stringed instrument, In alternative embodiments the content ofthe carbon fiber or other suitable fibers less than 10% {nother embodiments is greater than 60%. In some embodiments, vasious polymeric resin systems ‘may be used with the carboa fiber or ther suitable fiber to facilitate the formation ofthe components ofa stringed musi- cal instrument, Both thermoset and thermoplastic resins may ‘be used. Ina least one embodiment, thermoplastic esins are polymers tht are combined with carbon and other suitable fibers and processed by heating above a melting point, then the material may be feed intoa mold die, and then cooled vo » « 4 ‘below the meling point, such thatthe material is formed with the shape of the mold or de for the stringed instrument or portions theeeo!. In at least one embodiment, thermoset resins undergo 2 ‘chemical reaction during processing, whereby the resin mal ceules lnk togetber to fom long, chains dhat tur the liquid resin system int a soi. In some embodiments, the tonal characteristics of the stringed musical instrument body axe affected by bath the {type and content of erbon fiber, other suitable fibers, andthe polymeric resin system selected, By carl selection ofthe -esin system, and the type and percentage of carbon fiber or ‘other suitable fiber, a range of desirable acoustic tonal chat acteristics may be obtained forthe stringed musica instru nan alternative manufacturing proces, materials placed {nto one half ofa heated mol and the other half ofthe mold is forced down onto the material causing material to flow, and to tke the shape ofthe mold forthe body or other portion of the stringed musical instrament, Once the material as ‘wed, the material s then either cooled below the melting point in the ease ofa thermoplastic material ori allowed 10 chemically react inthe ease ofa thermoset material. In at least one alternative embodiment, the traditional ‘methods of manuilactre with typical layers of fiber compos ites have ben replaced with he disclosed material and ass0~ ciated manulacturing methods, which offer significant cost ‘and cycle time suvings. I some embodiments a reduction ia the cost ofa panicular musical instrament body in excess of 75%, anda reduetion in processing time from 8 hours to 3, minutes may also occur. In addition to the cost and time savings, the methods of manufacture forthe disclosed inven tion generally produce much more consistent pats, because there is moch ess human labor, and chance for variability >berwoen manufactured pats of astringed musical instrument Inat least one embodiment, in addition tothe cost savings, ‘ime savings, and consistency improvement, itismuch easier to make parts with features, such as ris, struts, or bosses, ‘hich are used for both structural and tonal purposes. With the disclosed invention, the features of ribs, sis, oF bosses are easily constricted into the mold, and are molded inte= ‘tally wit the instrument body ina Single or multiple step operation, Inone embodiment, nveationmakesuseof earbonorother suitable fibers and glass fiber injection molding materials, long with laminated materials to significantly reduce cost ‘of manufacturing, while retaining a high level of functional and acoustic performance for the tinged musical insta ‘meut. The invention also makes use of innovative design, concepts to promote performance and cost effective man facturing. Tn one embodiment, a stringed musical instrument com- prising sound box defining an iner space is povided, The soundbox comprises bottom boar, a soundboardanda side ‘wal, thebortom board, soundboard and side wallewcl having an inner surface which faces the inner space, the side wall. ‘being between the bottom board and the soundboard, wherein, the bottom board und the soundboard each have a periphery, and the side wall hasan upper periphery and a lower periph ery, the periphery’ of the soundboaed being connected tothe ‘upper periphery and the periphery of the bottom boaed being connected to the lowerperiphory:Inat leastone embodiment, the soundboard comprises a sound hole. ‘A soundboard for @ musical instrament is disclosed the soundboard having at least one layer of material. In some embodiments the material comprising carbon fiber, fibrous laminate material, resin or aplastic matrix and combinations US 9,171,528 B2 5 thereof. At Teast one bracing structures engaged or integralto the at lest one layer of material, In some embodiments, the soundboard and the bottom board may be effectively interconnected via vertical struts attached to the inside of the side wall. The stuts may be interconnected without any glue joins between the diferent siruts. The inlerconnections preserve the desired strength ‘without increasing te rigdty forthe sound box. Further, in sound boxes where thore are unnooessary constructive ri forcement, sounds tend to interfere, The present system pro- vides puree sound in which as may parts as possible vibrate atthe same frequency. ‘The invention is alo designed so that individual compo- ‘ents canbe machined separately, reducing costs and increas ‘ng conssteney ofthe stringed musica instruments “These and other embodiments which characterize the invention are pointed out with particularity ia the claims annexed hereto and forming a part hereof. However, fora Dotter understanding of the invention, its advantages and objectives obtained by its use, reference can be made tothe ‘matrix; plastics; composite materials: ibeglss: glass foam; berylium: fiberglass epoxy blend oer fibrous materials incorporating las, silicon carbide, andlor other suitable ‘materials and combinations of the materials as identified here, I should be noted thatthe materials identified herein are representative, and are not intended o be limiting of the ‘ypesof materials which may beuilized for ether the sound board 22, sound box 12 or other portions of the stringed ‘musical instrument as described herein While carbon fiber is viewed as the fiber of choice for at 4s least one embodiment used in the soundboard 22, itis ai pated that ther fers may provide aecepiable performance Altemate fibers may include but are not limited to fiberglass, lcon carbide, Nexel @M adem) or other ceramic fiber orother fibers Inother embodiment, the soundboard 22 may be formed of two, or muliple individual layers of molded material, ‘where each layer is formed of the identical eompesition of clements or manufacturing techniques. In other embod ‘mens, the individual layers of material may be formed of diferent materials or manufecturing technique. In furher embodiments, the individual layers of material may atemate ‘any regular or iregulr sequence for combination together to provide a desired level of vibration, tonal characteristics, acoustic response or performance fora soundboard 22 of & stringed musical instrument, Inat least oneembodiment, an addtional layer of material ‘84 may be engaged to the soundboard 2 at certain designated locations in onder to increase the siflness of a regioa of the soundboard 22, suchas for example proximate toa bridge 62, 6 ‘which is atached to the top ofthe soundboard 2. In erin crsbodimens, addtional sections or layers of carbon fiber or w x“ 10 fibrous laminate material may be ae to size regions ofa sundboard 2, which ane specially designl to retee the ahene sivewl effets of srng tension. In some cmbeiments the ation layer of materi 4 may’ ome Prise material of higher stiffs thin the soundboard 2 Stub materia forthe aoa ayer may inl, bat are lini tothe mater ssf rin. In ome cnbodiments an cdional ayer of material may Be engped to the sound box 12 proximate to the neck black arc 64 andor soundhole 32 inorderto provide preter sport in thes res Alou the thicknesses of he soundboard 22 may vary, suitably the soundboard 22 may have anil thickness oF temcen approximately 0.0625 inch nd 0 O00 inch nat leat one emboimen, the bracing srt 24 is bond totes ofthc soundboard 22 In seme emboli mens, thebcng struct 24a unitary molda nce providing the following: improves lamer ih, thorhy rein the mas ofthe sundboard 22 fora given sibs increased instrament volume nd improved sound rar 22 responsiveness lover resistence ofthe sound ‘board 22 to vibration, thereby increasing the amplitude of vibration for given sting excitation and improved stain ty redoing the ene rere vate soundboard 22 fora given spline, in hat less energy Toston ech vibration eel boca less mass ast be vibrate In at lest one embodiment, the oval intr of the soundboard 22 is improved by significantly increasing the bead are for engagement ofthe acing stvtre 2410 the soundboard 22, whch nt duos the potenti far brace bond re, Int est one embodiment unitary molded bracing strctre 24 is ot prone to cacking or ping and ninimizes sexs concenatons at brie inerfge locations ih the soundboard 22, they retin 9 mere uniform Sus dstiuton with the soundboard 2 Inst ant oneenboinent the nity bracing tre 24 having bres 26 may be affiedatiched, secre onal tendedto he nterorsideofa soundboard 22, fr vibration in trson with he soundboard 2, to provide he desired onal charters forthe stringed msl instrament Ina least one embodimeny the uta molded bracing stnetne 24 med fom asin syste anda chopped or nil fiber, prefab caron fiber, bt ther ier sch as tls, bsa icon abide or cera bers iy be sed In Some embevimen, the resin stem may be ether thermo- plas such a ABS, yi polarons al, o thst Ioost sich es epony, phen vin lester, polyester, or Combinations there. In some embximens, the molding process forthe uiry bracing sitare 24 maybe ihe Injection molding, compression molding or transfer mol ing, or similar procs for molding the entifed materials ‘ogee to for thedesied bracing ttre shape In some enbodmens sts of continaots fi einfeesent may be bonded 1 the unitary bracing stuctre 24,10 fon an ingrid bring sree se molding, wo inerese sill nese and acoosie perfomance forthe singed musical invent Ina least one embodiment, the wnitary molded bring suvctre 24 may he carbon fier reinforce, which may inode raised, ollowsflenr or baes 260 miniize op deletion de to string tension snd to manips acoose response Te should be noted thatthe mater identified hers are representative, andrea intend to belimitngo he types of atria which maybe lied fr ihr the sourbourd 22 orth uniurybeovng strate 24 as described herein US 9,171,528 B2 ul Inat least one embodiment, the braces 26 may be aranged {nto a traditional, non-iditional, or random bracing pattern including straight sections or curved sections whieh are dis- posed within the interior peripheral edge ofthe soundboard 22. In some embodiments, the straight sections or curved sections may cross one another at perpendicular or non-per- pendicular angles to enhance the strata integrity of vari- ‘us locations ofthe soundboard 22, In some embodiments, the unitary bracing structure 24 ‘may be molded to provide an adjustable or variable stifiness to selected portions ofthe soundboard 22. Th stifles foe soundboard 22 may be varied or adjusted by the inital selec~ tion or designation of the materials to be ulilized forthe ‘unitary bracing stucture 24. In other embodiments, the uni- tary bracing structure 24 may have consistent or inconsistent thickness dimensions at certain locations, to adjust the siff- ‘ess and vibration of the soundboard 22 to achieve a desired fone or acoustic response: In some embodiments, the dimensions andor the shape of the braces 26 may vary heween braces 26 or at certaia la ‘ions within a section or grouping of braces 26. In some «embodiments all of thebraces 26 have an identical shape and size. In other embodiments, the braces 26 are not identical, and eerain braces 26 may have any particular shape or size 2 for positioning at certain locations relative toa soundboard 22, to providea desired vibration, tone ar acoustic quality or ‘response, to maintain te structural intewriy forthe stringed instrument, In some embodiments, the width, height, depth, thickness, andlor shape of the braces 26 andlor the unitary bracing structure 24 may gradually or dramatically change by increasing or decreasing dimension, along the length of the ‘unitary bracing rcture 24 ora certain desired locations, in ‘order to provide the desired sound quality or tone effet for the soundboard 22, The superior performance may be based ‘om two characteristics (a) the high structural eficeney—that isstiffnes for given weight, and (b) the ability to effectively shape the tonal response. Tn some embodients, a soundboard 22 including the wni- tary bracing structure 24 may have a bending sifinessratioot approximately 1 to 1. In other embodiments, the bending fillies rato may be greater or less than to Us desired for particular stringed instrument In certain embodiments, the ‘unity bracing structure 24s used to facilitate the stuetural integrity of soundboard 22 exposed to string tension and to simultaneously shape the tonal acoustic and vibrational prop- cetiesto provide adesired natura warm sound forthe steinged instrument, In at least one embodiment the soundboard 22 has boen formed separately from the unitary bracing structure. ‘Theabove relationships are very complex, anda low mass, high stifiness soundboard 22 will not necessarily crete a desirable acoustic response however, the igh tfiness fora given Weight mokes the carbon ber unitary bracing suture 24 a superior brace material ‘The ater boneftof the material selected for the unitary ‘bracing structure 24 is that it effectively damps the excess ‘upper mid and upper frequencies tat carbon fiber sound ‘hoards 22 tend to produce these frequencies can provide & dhars one, especially at higher volume levels In some embodiments the thickness dimension for any {ocation on the unitary bracing structure 24 may be identical, aay differ, or vary relative to other areas at any location relative to the soundboard 22. Adkitional layers or thickness ‘of material may beaded tothe unitary brecing structure 24 in areas of high stesso ad stifness and strength, x“ 12 In at least one embodiment any combination of bracing structures 24 as identified herein may be affixed, engaged, ‘onded, integral with or otherwise attached to a soundbard n. In at least one embodiment, the bracing structure 24 ‘hocomes more a part ofthe soundboard 22 than extension of it-Inat least one embodiment, the bottom hoard 36 includes. ‘races 26s described elative to the bracing structure 24 In some embodiments, the sound box 12 may inchide struts, ‘where the struts may’be used in the side wall 34 and may also shave the properties and features ofthe braces 26 as described here, Tnatleastone embodiment ofthe soundboard 22 andlorthe bottom board 36, the braces 26 are neither parallel nor per- pendicular to one another. The individual braces 26 are gen nly continuous fom thie individual origination points to their ending points Tn some embodiments, changing the profiles ofthe braces 2B ereates more stiffness where los are greater. H should be ‘understood thatthe braces 26 may have different configura tions as needed for positioning onthe soundboard 22, TInsome embodiments, thebraces 26may also slopeat their termination points. Among other reasons, this isto aecom- ‘modate the side wall 34, which i adhered to the periphery of the soundboard 22. This configuration may provide strength and rigidity without sacrificing the vibration capabilities ‘throughout the sound box 12 Tnsome embodiments a tational bracing simeture hav ing a plurality of spaced apart braces 26 may be organized into patter, In at least one altemative embodiment the ‘bracing structure willhen master die simueture and ammatching press structure of adie set which may be utilized to fcilitate Formation of the unitary bracing structure 24 ‘Those skilled in the at wil be readily aware of oer types ‘of mokding/formation procedures, as wel as altematve types ‘of materials may be utilized in the manufacture af the unitary bracing structure 24 having braces 26. nat eas one embod- ‘ment, hebraces 26 re formed of earbon ides, other suitable liber, fiberlas, composite or other materials Tat least one embodiment as may be seen i FIGS. 1 and 6, 68, 6C and 6D, the unitary bracing structure 24 may conform othe shape ofa soundboard 22 and inchude a sound hole 32, and the braces 26. In at least one embodiment, the ‘unitary bracing stracture 24 may also include an upper bout area 16, a waist area 14, and slower bout area 18. Inatleastone embodiment, the bracing structure24 having the attributes identified herein mayalsobe used onthe imerior ‘ofthe bottom board 36, Int least oneembodiment, the sound holes 32 of the soundboard 22 and the bracing structure 24.0 aligned. In some embodiments the bracing structure 24 may ‘be rimmed along the exterior edges to conform tothe desired shape forthe soundboard 22. In at least one embodiment, the ‘materials and shape of the bracing structure 24 provide suf= ficient structure to the soundboard 22 10 prevent cracking, ‘ending, warping or other load related problems fllowing the tightening of strings from the bridge 62 1 the neck 60 oF the musical singed instrument In some embodiments the braces 26 define elongate ca ties or resonance channels or spaces which may be ectangu~ lar, semi-circular, or any other geometic shape which is seleted to provide unique resonance properties for the sound box 12 ofthe mascal instrument. In some embodiments the bracing stricture 24 comtesponds to the siz, shape, andor configuration of raditional braces used witha soundboard 22 TInsome embodiments, the acoustial and resonance char acteristics ofthe soundboard 22 may be adjusted by moxlti- cation ofthe width, eight, thickaes, depth, andlor shape of US 9,171,528 B2 13 the bracing structure 24 andlor the braces 26. In some embodiments, the width, height, depth, thickness, andor shape ofthe braves 26 may gralually or dramatically change by increasing or decreasing dimensions along the length of the braces 26, or at certain desired location, in ore to provide the desired souad quality or tone elect In some embodiments the use ofa bracing structure 24 as bracing for a soundboard 22 facilitates uniformity in the crafting of soundboard 22 fora musical instrument redocing ‘waste and improving sound quality. Insome embodiments the use ofa bracing structure 24 as bracing fora soundboard 22, limits the numberof variables associated wit the formation ‘ofa soundboard 22 foramusical instrument. Variables would include but are not necessarily imited to vibrational dfer- ences iulerent in different pieces of wood used to form the ‘traditional braces andlor soundboard 22, In at least one embodiment all ofthe braces 26 may be formed of a common shape having substatally idertcal internal ewvites or resonance spaces. In atleast one embod- ment, one or more braces 26 may include a combination of dierent shapes and different internal cavities or resonance spaces along the length or at diferent locations along the Teng, ofthe braces 26 In at ast one embodiment, a bracing pattem formed of braces 26may be provided, where the braces 26 re individu- 2 ally formed of different shapes, or sections ofthe pattern of ‘races 26 reformed of ether the same or diferent shapes. In at least one embodiment an individual brave 26 may be formed of one, two, or more different shapes, to yield a esitd tone for the soundboard 22. In atleast one embodiment a shown in FIG. 68 @ bracing structure 24 includes a circular sound hole $2 position ‘wally inthe upper bout 16 section ofa soundboard 22. pai of elongate braces 26 cross the bracing steucture 24 and a plurality of shorter braces 26 are positioned in asymmetrical ‘and regular location within the bracing structure 24, The ‘overall bracing patter i regular and symmetrical about a central axis which vertically bisets the bracing structure 24. Inat least one embodiment as shown in FIG. 68 the overall shape ofthe bracing structure 24 is aot syrametzca in shape, Inthe embodiment as depicted in FIG, 6B the bracing srie- ‘ure 24 inte lower bout 18 section is symmetrical in shape, and the bracing structure 24 in the upper bout 16 38 not symmetrical in shape. Inthe embodiment depicted in FIG, 6B. the soundhole 32is offset ands shaped inthe form of anoval which is located proximate to the peripheral edge of the bracing strectue 24 in the upper right quadrant. In the ‘embodiment shown in FIG, 68 pai of raves 26 cross each ‘other anda central junction sections provided. plurality of shorter braces 26 are positioned in a symmetrical or regular location within the bracing structure 24. The overall bracing paltem is epular and symmetrical about a cetral axis which vertically bisects the bracing structure 24, Inat least one embosiment as shown in FIG, 6C the overall shape ofthe bracing structure 24 isnot syrametrca in shape, Inthe embodiment depicted in FIG. 6 the bracing structure 24 the lower bout 18 section is symmetrical in shape, and the bracing sructure 24 in the upper bout 16 setion isnot symmetrical shape. Inthe ltemativeembodimentdepictd in FIG, 6C, the sound hole 32 is offset and is substantially kidney shaped which is located proximate to the peripheral «edge ofthe bracing strcture 24 proximate othe wast 14, on, the right side. In the altemative embodiment shown in FIG. {6C thebraces 26 re positonedat angles relative ta eachother and aplrality flanger and shorter braces 26 reused nthe alternative embodiment shown i FIG, 6C the braves 26 are sposed in an imegular pater of lage, mid-length, and s 4 shor es 26 Inthe embodiment shown in FIG. 6C the Irnces 26 are disposed in dsie Into t provide a particular aco response ond desired onal gully fora ‘stringed musical instrument. Inthe alematve embodiments depicted in FIG. 6D the tracing structure 24s substantily dental tothe bracing stcure 24 depicts in the allematve embodiment as shown in FIG 6, with th exception tat the sound hole 32 is subtantly Kidney shaped and has been reacted from the upper right quadrant toa position proximate to the periph- era edge ofthe wast 14 onthe right sie Insomembodiments as depicted in FIG. 6 an atonal Jnyerorone or moe pis of tril 4 have rena 0 citer the soundard 22 oro the ring strstr 2 at desired location to eahance thetic and structural ine tty ofthe soundboard 22 to provide npartiulr couse response and/or desired tone quality for the stringed musical inntumenr, tile simulancouly eskineing the sacl integrity and prolonging the sei ie ofthe soundboard 22 and racing srt 24 Intleastone embodiment perfomance ofthe sound tard 22 andor tb bacingsnctre 24 may Beal mod fed bythe aon or nemovsl of one or more plies 84 of tater fom the molded bracing stutre 24, In some insigcor shape of pcs 84 of os] mate odo thebracing stare 24asshownin FIG SC in onder to incase sifitess ofthe soundboard 22 in Selective lostions In some embodiments, the on or more pis 84of materia maybe of nese or decrecsd sins scompard to thebrcing strate 2, howe, he oer Sina ofthe racing snare 24s increased follwing the aon af est ne ply 84 0 mater. In some embod tes, the one or more ple 4 of material may be Fond kes which may provide enced siffes wo the sound- oor 2 iho sion ataring the over maswof he soundboard 22 nat least one embodiment, when the sound box 12 is assemble, he temiation pons ofthe bres 26 ofthe Soundoara22 are ene cated above the coresponding termination points ofthe races 26 forthe boro boar 36. The corresponding points may be linked by the struts 82 t0 create thecompesite bracing stem Isbouldbe noted hatin ft least one embodiment hat braces 26 ae ot wed on the best bard 26 Inet east one embodiment, particular, but ot the exc sie etre ofthe composite bracing stem the ait of theintronnestion ofthe ces 26a the sts fo isese Stress and stn troghoat the system. Te postning and the configuration of the braces 26 and ints provide seth an fs forthe sos box 12 witht ang wnsces Sary weigh, while proviing for uniformity of ibaton and pence of sound Iva lest one enbodimen, any combination andor pat temvofidentcal or difrent races 26 may be tlie within 2 bracing sncture 24, for atachment to ether th interior Side of te soundboard 22 enor the interior sie the ear panel ovtom bat 36to frm the sound box 12 foransal Instrument Insome emboeiments, the sound bo 12, sc athe sidewall 34 ae formed of carbon fiber and oer stable fiber wich are sed nan injection molding proceso fm thesound box 12, eck 6 an sidewall Mn sme emboli tens, sidewall M andor reinforcing bs rst = wel as the neck 6 are comprised of 20% 050% carbon fiber Tn some embodiments, the ijction molded enforcing ris o srt function to sen te sie wall M for either Sci consideraons or sound respons or both trata US 9,171,528 B2 15 considerations and sound response, In atleast one embodi- ment, the side wal 34 inthe area athe upperbout 16 includes reinforced neck mounting area 64, In alternative embodi- ‘ments, he injection molded sie wall 34, reinforcing ribs or sirus as well as the neck mounting area 64 are formed at aS Significant cost savings as compared to compression molded ‘orlaninated instrument bodies In addition, the use of earbon fiber reinforced injoction molded polymers provide superior acoustic response for the side wall 4 and the sound box 12. In some embodiments, the ribs or ventcal stuss may be_10 ‘aligned withthe termination points ofthe braces 26. It should ‘be understood thatthe number of struts may vary’ fora pat- siculartype of stringed musical nstrament inode to provide desired sound quality Inat lest oneembodiment, the struts ‘are generally perpendicular wit the soundboard 22 Tn some embodiments, the Bottom board 36 may be formed ‘of carbon fiber or ater suitable fibers or materials as earlier eseribed with respect tothe soundboard 22 In at least one embodiment, when the soundboard 22 is placed over the side ‘wall 34 above the bottom board 36, withthe upper bouts 16, and the lower bouts 18 aligned, the termination points of the braces 26 of the bottom board 36, if used, are aligned in an ‘opposing fashion with the termination points ofthe Braces 26, ofthe soundboard 2. Inat last one embodiment cach of the braces 260 the botiom board 36 fused, mimor the braces26 2 ofthe soundboard 22. In at least one embodiment, the stringed musical insta ‘met includes a nock 60 which is engaged othe neck mount ing area 64 of the sound box 12. In general, the neck 60 includes the clement ofthe hee! $0 which may include a eel insert S4: a hollow or pocket 42; a neck inset 46 for place ‘ment in the pocket 42; a headstock 48; a headstock inser 76, for placement into the headstock 48; a headstock veneer 14 for engagement to the headstock insert 76; a fret boar 44 formed of a carbon fier insert 58 having a molded pocket $2 9s and another carbon fiber insert $6 for placemeat into the ‘molded pocket $2; and an attachment mechanism 28 includ ing adjustment serews 66 and mounting bolts 68 Tn some embodiments, a hee inset $4 is disposed into the ‘hel $0, In other embodiments, heel insert $4 isnot used Inat leat one embosiiment, the neck 60, and companents ‘ofthe neck 60, with the exception of the adjustable serews 66 ‘and mounting bolts 68, are Formed of earhonfiher materi and/orather suitable fiber material as cartier identified herein, Insomeembodiments, th elements ofthe neck 60 are formed 4 through the use of an injection molding process or other suitable manufacturing process to reduce manufacturing and assembly expense. In some embodiments, theelements athe rock 60 may be formed through both an iajetion molding processand through theuse of lamination process for mani factue of carboa fier reinforced elements Inatleast one embodiment, the attschment mechanism 28 for engagement of the neck 60 to the sound box 12 may provide adjustable positioning ofthe neck 60 relative to the sound box 12. In alternative embodiments, the attchment mechanism 28 doesnot provide for adjustable positioning of the nock 60 relative tothe sound box 12 Inat east one embodiment, the attachment mechanism 28 allows adjustable attachment of the neck 60 with respect to the sound box 12in two planes in oaderofeilitatethe proper positioning of the strings relative tothe neck 60 andthe sound box 12 In some embodiments, the attachment mechanism 28 allows foe adjustment ofthe neck 60 vertically up aad down, andr horizontally let to right in order to fecilitate adjust ‘ment an proper sting alignment of the strings relative othe ‘acc 60 and the sound box 12 16 A east one embodiment, the attachment mechanism 281s ‘sed on a three point interface, with a pivot point and tw independently movable adjustment poiais. In at last one embodiment, the mounting bots 68 ae disposed lower than ‘the adsment serews 66, andthe mounting bolts 68 funtion asthe vertical pivot point while de adjustment screws 66 are independently adjustable Tor lateral or horizontal alignment ‘ofthe neck 60 tothe lft or right relative wo the sound box 12. One of the most time consuming operations in the con- struction ofa stringed musical instrument is alignment and positioning ofthe neck 60 relative to the sound box 12. A {ypcal set-up procedure uilizs a ial and eror process that involves removing material from the neck heel $0, or by adding or adjusting shims into the neck mounting area 64, Tia least one embodiment as disclosed herein the attach ‘ment mecaanism 28 permits the adjustment ofthe neck 60 by the manipolation ofthe adjustment serews 66. Int least one crsbodinien, the mounting bolts 68 permit adjustment of the rock 60 al slight angle vertically upward or downward relative to the sound box 12, while the adjustment seeows 66 permit adjustment ofthe neck 60 horizontally left to right, providing a two way adjustment forthe neck 60. In at Teas. ‘one embodiment, the attachment mechanism 28 enables the adjustable positioning of the neck 60 relative tothe sound box. 12 without the removal ofthe strings from the stringed musi- cal instrument. In some embostments, the utilization of an attachment mechanism 28 enables adjustment ofthe position ofthe neck 60 wien the neck angle relative to asouna box 12 ‘haschangod overtime, which n tum as displaced the desited location ofthe steings relative to the sound hole 32 or sound box 12 Inat least one embodiment, the attachment mechanism 28 provides a stvcturally efficient method of attaching a com- positeneck 60 0 asound box 12. Theinjection molding ofthe neck 60 provides fora cost-fietive and rapid fabrication process forthe complex shape ofthe neck 60, where portions of the neck 60 are constructed tobe selEaligning and to fit closely together to enhance the effcieney of assembly ofthe stringed musical instrument Composite materials are typically proficient at carrying stresses in @ plane, and in a hearing relationship, however ‘composite materials may not be as effective at carrying loads through comers, paricularly when used witha staged musi- cal instrument, Inat least one embodiment, the mounting bolts 68 provide an effective method foe making the 90° connection between & musical instrument neck 60 and the sound box 12 for a composite material stringed musicl insteument Int leastone embodiment, the upper structural reinforee- ‘ment forthe neck 60s moved into the fingerboard 44. This in turn moves the renforcemeat fibers futhe from the neural axis as opposed to making the reinforcing fiers and integral part of the neck 60, In certain embodiments this feature ‘enables the use of less reinforcement material fora desived level of stifles for the neck 60 andor sound box 12. In at Jeast one embodiment, the use of molded carbon {ihors, or other suitable ibesin the carbon fiber inserts 56, $8 aswel asthe neck 60, and neck inser 46 enables the replace ‘ment of low sirctral effcieney material inthe lower pat of the fingerboard 44 and neck 60, with hgh teuctual efficiency ‘material, whieh in tum may provide a significant stlinss improvement to the nock 60 wit very litle addtional mas. Inat east one embodiment, the manufacture ofthe hee $0 asa separate molded or machined piove avid the implemen {ation ofa complex lamination operation or process, which in the past has been required in order to make a complex hel as ‘aportion ofthe neck 60. In at least one embodiment the heel US 9,171,528 B2 17 50, heel insert $4, headstock insert 76, and fingerboard 44, ‘well as othor parts ofthe neck 60 may be formed through the use of a CNC machine, or molded by an iajetion molding process. In other embodiments the neck 60 is conducive to ‘manufacture through the implementation of a simplified s lination operation, In at lest one embodiment, the head stock veneer 74 is machined from laminated Nat sheets of ‘composite material or ether suitable materials Inat least one embodiment as depicted in FIG. 9, hoo! attachment block 86 is disposed ina hollow or packet 42 of the neck 60, andis vertically aligned with respect othe eel 50, Hel atchment bolts 88 may then pass tough aligned apertures 9 in the heel attachment block 86 in order to sandtveh the neck 60 betwen the heel attachment block 86 and the heel $0, to secure the heel 50 1 the ueck 60. heel ‘cover 92 may then be disposed over he heel SUduring assem bly ofthe stringed musical instrument Tnat least one embodiment as depicted in FIG. 2, aspheri- «al pivot 94s disposed overthe upper mounting bol 68. Ina least one altemative embodiment, the spherial pivot 94 is isposed over the lower mounting bolt 68. In at least one embodiment the adjustment ofthe neck mounting bots 68, and the tightening of the mounting bolts 68 relative tothe spherical pivot 94, provides vertical alignment of the neck 60, relative to the sound box 12.as depicted by araws 96 of FIG. 2 4 In at Jeast one embodiment, the hee! $0 includes adjust ‘menallisaton apertures 98 which are dapted to receive the adjustment screws 66 and mounting bolts 68. In some embodiments the aflixation/adjusiment apertures 98 are ‘threaded nd inotherembodimens the aflixation/adjustment apertures 98 are not threaded, and the mounting bolts 68 ‘engage nutstosecure the heel $0 and neck 60 tothe sound box. 2. ‘Atleast one embodiment with reference to FIGS. 2 and 3, the affixationladjusiment apertnres 98 for receipt of the agjusiment sews 66 are threaded. The adjustment screws 66, realigned to contact adjustment screw stops 190 orinterface points, which in some embodiments may be metalic or ther ‘materials. In some embodiments the adjustment sere stops 100 resemble the heads ofa lug or rivet. In some embod ments the adjustment serew stops 100 are ether integral with, ‘rare fixed dretly othe neck mounting area 64 af the side ‘wall 34, andin other embodiments are integral with oralixed directly toa eel block 102 as engaged tothe sidewalls 34 of 4 Stringed! musical instrument. In some embodiments the agjusiment serew stops 100 are recessed eelatve tothe neck ‘mounting area 64, side wall 34, andor heel block 102. In some embodiments relieved oe recess area 104 may be present proximate to the neck mounting area 64 foming a recessed pocket for receipt of the heel $0. The relieved or recessed area 104 of the neck mounting area 64 facilitates the positioning and alignment of theneck 60relativeto the sound ‘box 12 during assembly of the stringed musica instrument (FAG. 10) in at least one eaxbodiment the hee! $0 includes a ss spherical pivot area 106 which is aligned for positioning proximate to the spherical pivot 94, In a least one embodiment, an injetion molded carbon fiber bridge 62 is provided which includes pockets 80 po tioned proximate to the soundboard 22 to minimize mas of 6 the bridge 62 and to reduce bonne stesses onthe sou board 22 following assembly ofthe stringed mosical instru ment In at least one embodiment, the bridge 62 and pockets 80 improve the acoustic response forthe sound box 12 by reduc> 6 ing the mass ofthe bridge 62, Inat least one embociment, the volume of the sound box 12 is inuproved because the respon w 8 18 siveness of the soundboard 22 is increased as a result of reduced mas for the bridge 62, which ia tura enhances the amplitude ofthe vibration ofthe soundboard 22 for a given string excitation as earlier described. In at last one embodi- ‘ment a redvetion i the mass of the bridge 62, decreases resistance ofthe soundboard 2210 vibration, which preserves vibrational energy facilitating soundboard vibration and ‘increasing the volume for stringed musical insrumeat In a least one embodiment, enhanced vibration of thesoundboard 22{ncreasesthe sustanof the musical instrument by reducing the energy required in onder a vibrate the soundboard 22 for given amplitude nat Jeast one embodiment a reduction in the mass ofthe bridge 62 decreases the energy loss on each vibration cycle, hecsse lower mass sequined tobe moved

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