Musical string instruments produce sound from vibrating strings and as such, form part of the wider classification group of chordophones, being any instrument producing sound from vibrating one or more strings tensioned between two points. Multi-stringed instruments such as a guitar, electric bass, violin, viola, cello, double bass, banjo, mandolin, rabab, sitar, ukulele, ba{hacek over (g)}lama and, bouzouki provide the capacity for a corresponding multiplicity of separate notes to be played by virtue of different string lengths, type and applied tension. In order to produce or maintain the desired pitch for each string, the tension must be adjusted by some form of tuning mechanism or feature.
Although the construction and configuration of such string instruments varies according to type, taste and performance criteria, a typical guitar (described herein for reference purposes) embodies much of the common features between instruments of this type.
A typical guitar is formed from a body section to which one end of each string is attached via a fitting known as a tailpiece. The strings extend from the tailpiece over a transverse support known as a bridge which displaces the strings away from the body section. The bridge also maintains the strings with a substantially equidistant transverse spacing by respective placement of the strings in transversely spaced notches. Prior art guitars include configurations where the bridge and tailpiece are formed as an integral unit or as two disparate components.
The guitar includes an elongate neck extending from a proximal end at the body section to a distal end known as a headstock. The junction between the neck and the headstock is demarcated by a second transverse support known as the nut. The strings each extend from the bridge over, and substantially parallel to, the surface of the body section and neck to the nut before being deflected at an obtuse angle towards a corresponding means of securement. The nut is configured with transverse notches to retain the string's transverse placement in a comparable manner to the bridge.
While nylon strings may be simply tied off at the tailpiece, a guitar using steel strings typically secures the strings at the tailpiece by a ball end, consisting of a cylindrical brass or steel sleeve over which the end of the string is wrapped.
A widely implemented prior art tuning configuration involves securing the ball end of a string to some form of anchorage at the tailpiece and passing the other end of the string through an aperture in a post in a mechanical tuning mechanism situated on the headstock of the instrument.
The most widespread tuning mechanisms used on the headstock of guitars, banjos, bass guitars are either non-geared (known as tuning pegs) or geared, consisting of;                an aperture, capstan or post, attached to a pinion gear,        a worm gear, acting orthogonally on the pinion,        a finger-operated button or knob at the end of the worm gear.        
The string passes through the aperture in the capstan and is rotated via the worm gear by the tuning knob. The user is thus able to vary the tension on the string by corresponding adjustment of the string tension by appropriate rotation of the tuning knob.
The additional mass of the tuning mechanism at the end of the guitar neck/headstock undermines the stability of the guitar by moving the centre of balance towards the headstock. The compromised balance of the guitar is further exacerbated when played in a standing position and held by a strap. Electric bass guitar are often produced with 4-6 steel strings of greater diameter and length (with correspondingly longer necks) than a standard guitar and thus the unbalancing effects of a headstock tuning mechanism are even more acute than a standard guitar.
To combat the destabilising effects of the torque exerted by the added mass of the headstock tuning mechanism requires bass players to either carry the neck with the fretting hand while playing or to adopt a characteristic range of postures with the non-fretting hand/arm to assist in balancing the instrument. Placing the weight of a mechanical, geared tuning mechanism in the tailpiece instead of the headstock assists in counteracting the aforesaid imbalance.
Tailpiece tuners by Steinberger (U.S. Pat. No. 4,608,904) and Kubicki et al (U.S. Pat. No. 4,712,463) attempt to address the above issues. However, disadvantages with Steinberger include the requirement for specialised strings with end fittings purpose-made to couple with the tailpiece tuner mechanism. Attempts to circumvent the need for such strings involve string clamps at the nut, though this requires additional tools to manipulate the small parts of the clamp, which are held in place by cap screws. Such manipulation requires a level of dexterity that can be difficult to attain when changing strings in performance environments, particularly in low light levels. Moreover, many users found the Steinberger tuning knobs difficult to rotate, requiring high force levels and were prone to becoming stuck if left unused for long periods.
Kubicki does allow the use of standard strings. However the tuning mechanism is rather large and visibly unorthodox in comparison to components typically found on such musical instruments. Guitarist and bassist have been found to exhibit predominantly conservative taste with regard to guitar design and unusual visual designs are not easily accepted. Furthermore, the size of the Kubicki tuner fitted to an electric bass necessitated an instrument's string length (referred to as scale length) of 32 inches, rather than an industry-standard 34 inches in order to produce an instrument of a standard overall length. Players predominantly prefer the feel of the string tension and the tonal qualities of a 34-inch scale. After the introduction of the highly successful Fender Precision™ Bass and the subsequent Fender Jazz™ bass guitars, manufacturers of bass guitars effectively settled on a de facto industry standard substantially corresponding to the dimensions of these instruments.
The dimensions of these two instruments have been widely recognised as the industry benchmarks for overall length, scale length and placement of componentry such as electronic controls, pick-ups, tailpieces bridges, headstock tuning mechanisms, etc.
Consequently, accessory markets such as bass guitar cases are heavily biased towards products that would accommodate instruments of this industry standard. It would thus be desirable for a tailpiece tuning mechanism to be sufficiently compact for effective use on such standard-dimensioned guitars without requiring custom sized cases.
All references, including any patents or patent applications cited in this specification are hereby incorporated by reference. No admission is made that any reference constitutes prior art. The discussion of the references states what their authors assert, and the applicants reserve the right to challenge the accuracy and pertinency of the cited documents. It will be clearly understood that, although a number of prior art publications are referred to herein; this reference does not constitute an admission that any of these documents form part of the common general knowledge in the art, in New Zealand or in any other country.
It is acknowledged that the term ‘comprise’ may, under varying jurisdictions, be attributed with either an exclusive or an inclusive meaning. For the purpose of this specification, and unless otherwise noted, the term ‘comprise’ shall have an inclusive meaning—i.e. that it will be taken to mean an inclusion of not only the listed components it directly references, but also other non-specified components or elements. This rationale will also be used when the term ‘comprised’ or ‘comprising’ is used in relation to one or more steps in a method or process.
It is an object of the present invention to address the foregoing problems or at least to provide the public with a useful choice.
Further aspects and advantages of the present invention will become apparent from the ensuing description which is given by way of example only.