ES1312458U - THUMB PICK (OR PICKER OR PICK) FOR PLAYING STRINGED MUSICAL INSTRUMENTS (Machine-translation by Google Translate, not legally binding) - Google Patents

Abstract

Thumb pick for stringed musical instruments, attachable to the thumb (t) and in right-handed (R) or left-handed (L) versions, being of the type that have a ring added to the flat pick itself that is inserted into the thumb, and which is mainly characterized by having an effective distance (d) between the end of the ring coinciding with the outer edge of the thumb (10) and the tip of the pick (11) of between 12 and 20 mm, which increases the leverage exerted when attacking the strings, generating a spring effect (a) by the holding ring (1) built in sheet metal; the set is made up of two pieces, said ring and the pick itself (2), joined together by rivets (3) or any other fixing mechanisms. (Machine-translation by Google Translate, not legally binding)

Description

DESCRIPTION

THUMB PICK FOR STRINGED MUSICAL INSTRUMENTS

TECHNICAL SECTOR

The purpose of this utility model application is to register a pick (also called a plectrum or finger pick) of the type that is placed on the thumb using a ring for playing stringed musical instruments, since existing models do not solve certain problems that mean that they are not particularly popular, and their use is marginal compared to the use of flat picks. The present model resolves these problems, which are detailed in the section on the background of the invention.

BACKGROUND OF THE INVENTION

To understand the advantages claimed for this device, it is necessary to know the evolution of this specific type of spikes since its beginnings.

Stringed musical instruments have traditionally been played using two techniques: either the tip or the fingernail (the latter being the one used mainly by players playing nylon strings, such as flamenco or classical), or a flat pick, which is mostly used for metal strings (banjos, lap steel, mandolins, lutes, electric or acoustic guitars with metal strings), which requires holding it with at least the index finger and thumb. Each of these techniques has its advantages and disadvantages: fingers allow you to play several strings simultaneously, or obtain a percussive sound, or both, while the pick provides speed and good attack and control in melodic lines. Obviously, there have been attempts to get the best of both worlds, and as early as 1930, G. D. Beauchamp filed patent No. US1787136, a metal thumb pick made in one piece, a sheet in which one end forms a ring to embrace the finger, the other end being the one that attacks the string, a design that in different materials survives until today, reproduced in Fig 2b. However, its use poses the drawbacks mentioned below, and therefore, the great majority of performers remained faithful to the use of the flat pick, whose manufacture went from being something handmade by each musician with tortoiseshell (fragile and brittle) to industrial in 1922 thanks to Tony D'andrea, who not only replaced it with cellulose, but also established several standards in his catalogue, although he did not file any patent; Specifically, its model No. 351 reproduced in Fig. 1 is the model used by the vast majority of guitarists, the most imitated (or at most slightly modified) by far and -very important for one of the characteristics pursued by the present model-, to whose touch and shape the performers are therefore accustomed.

Relegated to the use of lap steel and banjos because they produced an excessively metallic sound, from 1960 onwards with the manufacture of nylon, cellulose, and especially delrin (acetal), finger picks became widespread, preserving as stated above the initial shape in one piece. Their main limitation is that they only allow a good attack downwards, since upwards, if the pick is hard, this attack is very rigid, since the excess force that it transmits generates a sensation of tripping or snagging, translated into a lack of control; or if on the contrary it is soft, it will tend to come off the finger, which also generates, although in a different way, exactly the same problems.

Another additional drawback due to its construction is that the plane of the pick does not coincide with the angle formed when holding a flat pick, causing the angle of attack to not be perpendicular to the string and producing an undesired "scratching" effect. This issue was attempted to be resolved with the patent filed by Jim Dunlop in 1996 No. US5509341 (the first serious attempt to correct some of the drawbacks of this type of pick), in which a conventional thumb model is offered with the tip bent at an angle (specifically in its commercial version it is offered in angles of 10, 20 and 30°), having obtained little repercussion because both having to choose a predetermined angle, and the fact that the area that is in contact with the tip of the thumb remains a relatively narrow band, makes the "touch" not convince flat pick players, who are accustomed to shapes that always have a large contact area with the finger; In fact, most players also use part of the middle finger resting it on one of the lateral points of the pick to "tilt" this attack. This is reflected in Fig. 2a, where the aforementioned point of contact with this finger can be seen.

The latest attempt at a notable breakthrough came from the patent filed in 2021 No. US11087724B1 (Fig. 2c), which addresses the main drawback of thumb picks: the upward attack. This is achieved by means of a device with two moving parts, the bottom one resembling a conventional pick, the top one being the finger ring, joined by a hinge-like pin made of the same nylon and with a spring that cushions the force and rigidity of this attack. A model that, however, does not correct the angle of attack of the pick, and which does not seem to have gained much following either: the sensation of wearing such a device on the finger is not comfortable, the spring controls the attack, but also the pressure exerted on the finger, which can be very annoying, especially over long periods of time, and in fact this pressure causes the nylon parts to easily deform.

Other commercial models of thumb picks try to approximate the feel of the flat pick as much as possible (with the lower shape in the standard 351 form, with a movable pick on non-fixed joints, or a pivot to regulate the grip position of the pick, etc.), such as patents US6949700B1 (Fig. 2d) and US4020732 (Fig. 2e), but always made of nylon or delrin, which also means that the ring, given the thickness of the plastic, protrudes (Fig. 2b, 2c, 2d, 2e, 2f) causing the occasional snagging with the string, and it is also quite difficult to generate artificial harmonics, which are achieved by rubbing the side of the thumb just after and almost simultaneously with the attack of the string. Therefore, no current model is still convincing enough to minimally displace the use of the flat pick; so much so that some high-level players dare to try a hybrid technique, holding it with the index finger and thumb, and using the middle, ring and even pinky fingers (a finger that is very anecdotal to see used in the playing of the hand that attacks the strings) to play the lower strings. Another problem that cannot be ignored is that, as they are generally manufactured in a single piece, the marketing of thumb picks for left-handed people is anecdotal (if not non-existent), so it is logical that these people do not even consider the alternative to using flat picks.

Other related patents are listed here apart from those mentioned:

US2063011A (1936) IL144205A (2007) KR20150141303A (2015) GB859549A (1959) JP2007003665A (2007) US2015122106A1 (2015) US3648558A (1972) US7157635B2 (2007) US2015294653A1 (2015) US3699838A (1972) JP2008310011A (2008) GB2530719A (2016) US4015502A (1977) US2008178725A1 (2008) US2017053627A1 (2017) US4102234A (1978) US2009056521A1 (2009) US2017116969A1 (2017) US4122746A (1978) US7786362B1 (2010) US2018025707A1 (2018) US4270433A (1981) US2011079131A1 (2011) US10074349B2 (2018) US4625616A (1986) US7977557B2 (2011) KR102382878B1 (2022) US4867032A (1989) US2012192699A1 (2012) GB2607003A (2022) US2002178891A1 (2002) US8389839B2 (2013) US2023100336A1 (2023) US2004237754A1 (2004) US8492630B1 (2013)

US2006086231A1 (2006) AT514414A1 (2014)

EXPLANATION OF THE INVENTION

Having set out the problems to be solved, this model is detailed: it is a thumb-attachable pick (t) -English dethumben- whose main characteristic is its length (d) from the side of the thumb (10) to the end of the pick (11), explained in detail below. A characteristic combined with its construction in two pieces, the first a ring (1) of metal sheet which has sufficient elasticity for the objective pursued, and therefore not dependent on the material used by the second piece, the pick itself (2), in charge of attacking the string (s) -destring-; these two pieces will be joined by rivets (3) or any other type of fastening.

Regarding the piece that acts as a pick (2), as it is a separate piece it becomes feasible to use for its manufacture the advantageous in many aspects modern materials that have become established in flat picks, such as Ultem®, Lexan®, acrylic polymers, carbon fiber... Regardless of the material used (each one of them will give a different feel, character and sound) the most important feature to highlight is its shape: based directly on the standard model 351 in order to offer that small support of the middle finger (m) -demiddle in English- already mentioned that most performers use, and thus not look strange, generating confidence and control; but, and now we return to the main characteristic of this model, with a distance (d) between the edge of the thumb (10) and the tip of the pick (11) much greater than usual, which does not exceed in most cases 8 or 9 mm (d ’) by directly imitating the conventional pick grip position in which the pick protrudes very little (Fig. 2a and 2b); taking it to a distance of more or less double, between about 12 and 20 mm (Fig. 3a). With this extra length "outside" the thumb what is achieved is that the ring itself, being metallic, acts as a spring (Fig 4b), since this system works as a lever in which the pivot point is (9), cushioning the upward attack ostensibly thanks to the angle (a) generated with respect to the axis (x) at rest or in the downward attack (Fig 4a), but without losing any control. And this without resorting to non-rigid mechanisms or joints or any other artifice. A great consequence of this is that string jumps are made more easily without needing more than a turn of the finger (Fig. 5b) because for the same angle of turn (@) we obtain a greater travel (h) with respect to what we would get with a standard model (h ’) without needing to move the whole hand (Fig. 5a), making the "search" for the string more intuitive in general. To also help reduce friction when attacking upwards, it has also been provided with an asymmetrical profile shape: the upper part (5) is conveniently carved and polished forming a soft curve from the tip (10) to the point of maximum thickness (12), while the lower part (6), beveled (7), maintains the flat shape (Fig. 6), providing a downward attack as strong as we wish, defined and safe, which is a very common technique especially when combining with fingers. This form is therefore suitable for both alternate picking (also called pick against pick), sweep picking and other techniques that require both speed and power in melodic lines, as well as for finger techniques.

Although the shape could be left like this, in addition, a cut (4) has been made on the plan view along the side closest to the tip of the thumb, with two purposes: one is to use, if desired (since it is not exclusive), the index finger (i) -index in English- so that, instead of placing it on the back of the pick in the traditional way (Fig. 3a), this part can be held directly (Fig. 7a), which results in more options for both control and rest of this finger, offering a surprising result. The other is an immediate and easy execution of a technique called pick scrape, which consists of sliding the edge of the pick longitudinally over one of the wound strings (the lowest ones) producing a peculiar sound resource that is quite used. This cut is optional and can be ignored (Fig. 7b); Furthermore, depending on the very diverse preferences of the performers, the other side can also be cut (Fig. 7c), which means that the ways in which this device can be manufactured are three.

The metal ring also offers the following advantages: stability and good support, being rigid enough so that when attacking the string (s) it does not move from the finger, and at the same time malleable enough to give it the appropriate shape, resulting in being able to be personalized and adaptable to each particular user (Fig. 3b) acting on the following parameters: both the shape and the tightening force of the ring, as well as the search for the perpendicular angle of attack (y), and even the ability to fine-tune the length mentioned (d). In order to add comfort, better fit, and at the same time protect the cuticle, the ring has been chamfered (8). Another not inconsiderable advantage is that, as already mentioned, all commercial thumb picks made of some plastic, due to their thickness and not completely fitting the finger at their end (the outer side of the thumb), can interfere in certain aspects of the interpretation with stumbling and snagging; On the other hand, the thinness of the metal and the tight fit to the finger do allow avoiding them, adding to this the ability to generate artificial harmonics by leaving the area (a.h.) on the side of the thumb free (Fig. 5b). One final advantage provided by the two-piece construction should not be overlooked, and that is that manufacturing for left-handed people becomes more affordable as it is done in independent processes.

BRIEF DESCRIPTION OF THE DRAWINGS

To complement the description being made and in order to help better understand the characteristics of the invention, a set of drawings is included as an integral part of said description, which is illustrative and not limiting. Please note that the examples have been taken from right-handed people (R); for left-handed people (L) they should simply imagine themselves in a mirror.

Figure 1 shows the D’andrea model 351 flat pick, which has become a standard and is by far the most widely used pick today.

Figures 2a and 2b (and 2c, 2d, 2d, 2f) show, respectively, from both a top and side view, how to hold a standard flat pick type 351 (Fig. 2a) and the difference with a typical commercial thumb pick (Fig. 2b). In the latter, emphasis is placed on the (short) effective length (d ’) of the pick that protrudes from the thumb, as this is imitative of the position of the standard pick (Fig. 2a); on the other hand, while in the standard pick the angle formed between the pick and the thumb that holds it (y) is adequate for a perpendicular attack, in the thumb pick the small difference in angle that it allows (y ’), almost 0 degrees, can be seen, which at the time of execution will translate into an inadequate attack. And finally, it is shown how the flap of the plastic ring protrudes enough to produce string snags. All these parameters will be corrected in the present model. In order to demonstrate that the drawbacks mentioned are applicable to the vast majority of commercial models, Figures 2c, 2d, 2e and 2f show the most elaborate ones. Specifically, Fig. 2c shows patent no. US11087724B1; Fig. 2d shows no. US6949700B1; Fig. 2e shows no. US4020732; and Fig. 2f shows an unpatented model from the manufacturer Jim Dunlop. As with the conventional model in Fig. 2b, the small angle of attack and the short protruding length of the spike, as well as the thickness of the plastic ring, can all be seen at a glance.

Figures 3a and 3b show the solutions proposed in this model. Fig. 3a shows the longer length of the pick (d) compared to the current ones, while Fig. 3b shows the adjustment possibilities thanks to the metal ring (1): thumb support, angle of attack (y), and fine adjustment of the length (d).

Figure 4a shows the downward pick attack, where (x) is the axis on which the pick remains in relation to the finger, while in contrast, Figure 4b shows the desired effect of dampening the upward attack (main drawback of commercial thumb picks) to provide softness and continuity to the alternate picking technique. The spring effect (a) with respect to the previous axis (x) with the pivot point at (9) is highlighted by the lever generated by the greater length (d) of the pick.

Figure 5 shows the differences in the rope skipping technique between a standard flat or commercial thumb pick (Fig. 5a) and this model (Fig. 5b); it can be seen that the distance (d) being much greater, for an identical angle (@) it is possible to cover a greater distance (h) to the rope to be skipped with just a twist of the finger, whereas in the case of the other picks it is necessary to make a movement of the whole hand. It also shows the area of the side of the thumb (a.h.) that is free to be able to force artificial harmonics.

Figure 6 shows the asymmetrical profile of the pick (2), curved on the upper side (5) from the tip (11) to the zenith of this curve (12), coinciding with the widest part of the pick; being flat on the lower side (6) with a bevel (7), in order to complete the smoothness of the action shown in Figure 4b.

Figure 7a shows the plan view of the pick to achieve another alternative form of support and/or facilitate the pick scrape technique. Figures 7b and 7c show alternative forms that are perfectly manufacturable and complementary (13 and 14).

Figure 8 shows the construction in detail of the right-handed model (R). A left-handed model marked (L) is also shown.

The specific meaning of the numbers and acronyms is specified below. It should be noted that the acronyms reproduced here indicating dimensions or angles refer to magnitudes of the proposed model, while those marked with a prime (’) in the drawings are for the thumb pick models of the current state of the art, in order to make the relevant comparisons:

t: thumb (from Englishthumb).

i: index finger (from Englishindex).

m: middle finger.

s: string (from English string).

d: distance from the outer edge of the thumb (10) to the tip of the pick (11).a: angle provided by the spring effect of the set when attacking the string upwards.

x: transverse axis with respect to the thumb in which the pick remains at rest.

P: angle formed between the pick and the strings that can be covered with a single movement.

h: distance between strings that can be covered with a single movement.

Y: angle of attack on the string with respect to the longitudinal axis of the thumb.

1 : metal ring for holding the thumb.

2 : part of the ensemble that attacks the string.

3 : rivets.

4 : cut made in plan to the piece (2).

5 : upper part of piece (2) carved in a curve.

6 : bottom of the flat piece (2).

7 : chamfering the contour of the piece (2).

8 : chamfer made on the ring (1) to protect the cuticle.

9 : pivot point of the piece (1), vertex of the angle (a).

10 : edge of the thumb, where the measurement begins (d).

11 : tip of the pick, where the measurement ends (d).

12: zenith of the upper part (5) of the piece (2), point of maximum thickness.

13 : variant of the piece (2) in triangular shape, without the cut (4).

14 : variant of piece (2) with two symmetrical cuts in plan.

a.h: area of the thumb that causes artificial harmonics.

PREFERRED EMBODIMENT OF THE INVENTION

The construction details of the model are described below, referring to Figure 8.

The piece (1), which corresponds to the ring, uses a metal plate that maintains a balance between being sufficiently rigid on the one hand, and malleable on the other (although it may be necessary to use some tool such as pliers for fine adjustment) to achieve what is explained in the section explaining the invention. The inventor of the present application, in prototypes, has opted for 0.5 mm stainless steel plate, with a chamfer (8) to adapt and protect the cuticle area, with optimal results. Another possible material is nickel of about 0.7 mm. 0.6 mm stainless steel provides great grip but its customization requires skill and tools.

The part (2), which corresponds to the pick, if it is desired to have the characteristic of an asymmetrical profile, must have a width of no less than 1.5 mm; it has already been shown that wider picks actually provide better control. However, for beginners and/or people who prefer a thinner thickness, it can be completely flat. In the same line of personal tastes, any material can be used, but Ultex®, nylon, Lexan® or any other modern acrylic is recommended, and even though they have become obsolete for these uses, cellulose or delrin. As an alternative, the lower part (6) can be grained or knurled so that the index finger that rests on it slips less due to sweat.

The two pieces will be assembled by means of rivets (3), resulting in a rigid unit, and the piece (1) may optionally be embedded in the (2), as is the case in the drawings that accompany the prototype.

The cut (4) designed for complementary grip and/or pick scrape technique can be seen, and the curved carving (and later polishing) on the upper part of the pick (5) in contrast with the lower, flat part (6). In any case, the beveling (7) of the entire piece is essential, except for the cut (4), since in order to enhance the "scratching" effect it is preferable to ignore this bevel here. However, in order to meet and satisfy personal tastes and/or preferences, and extending the range of models, remember that this last cut can either be ignored to leave the pick in the shape of a standard 351 model (13), or replicate it on the opposite side (14), obtaining another alternative, although less common, also available on the current market.

Claims (8)

1. Thumb pick for stringed musical instruments, attachable to the thumb (t) and in right-handed (R) or left-handed (L) versions, being of the type that have a ring added to the flat pick itself that is inserted into the thumb, and which is mainly characterized by having an effective distance (d) between the end of the ring coinciding with the outer edge of the thumb (10) and the tip of the pick (11) of between 12 and 20 mm, which increases the leverage exerted when attacking the strings, generating a spring effect (a) by the holding ring (1) constructed of sheet metal; the set is made up of two pieces, said ring and the pick itself (2), joined together by rivets (3) or any other fixing mechanisms. 2. Thumb pick (R and L), according to claim 1, wherein the part of the pick (2) that is responsible for attacking the string has an asymmetrical profile, curved in its upper part (5) from the tip (11) of the pick to its zenith (12), while the lower part (6) remains flat, being beveled (7) in its contour. 3. Thumb pick (R and L), according to claim 1, wherein the part of the pick (2) that is responsible for attacking the string is made of nylon, delrin, Ultem®, Lexan®, cellulose, carbon fiber, acrylic polymers, or any other plastic. 4: Thumb pick (R and L), according to claim 1, characterized by having an adjustable thumb holding ring made of a metal sheet between 0.3 and 0.8mm. 5: Thumb pick (R and L), according to claim 1, wherein the thumb holding ring is adjustable and customizable to the performer's physiognomy and his technical preferences in playing, possible by adjusting said ring on the following parameters: the shape and the strength of the tightening of the ring itself, the search for the perpendicular angle of attack (y), and the fine adjustment of the length from the edge of the thumb to the end of the pick (d). 6. Thumb pick (R and L), according to claim 1, wherein the part of the pick (2) that is responsible for attacking the string has a triangular shape with an unbeveled cut (4) on the side closest to the tip of the thumb parallel to the axis of the pick in plan. 7. Thumb pick (R and L), according to claim 1, wherein the part of the pick (2) that is responsible for attacking the string has a triangular shape with two cuts parallel to the axis of the pick in plan (14); the first (4) on the side closest to the tip of the thumb and the second symmetrically on the other side. 8. Thumb pick (R and L), according to claim 1, wherein the part of the pick (2) that is responsible for attacking the string has a triangular shape (13).