Abstract:
An apparatus for amplifying the sound of a stringed instrument includes, in its most basic form, a speaker attached to a strap that is adapted to be draped around a musician with each end thereof detachably-attachable to the stringed instrument. An amplifier circuit, according to a first embodiment, is connected to the speaker and attached to the strap along with a battery. A pickup wire is attached to an input of the amplifier circuit and to an electrical jack on the musical instrument. Portable amplification of the stringed instrument is provided. Other embodiments disclose a remote amplifier circuit and a remote battery that are attached elsewhere to the musician while the amplifier circuit output remains connected to the speaker that is always attached to the strap. A two-piece strap is disclosed as are a variety of different types of speakers that are attached to any preferred version of the strap.

Description:
BACKGROUND OF THE INVENTION  
       [0001]     1. Field of the Invention  
         [0002]     The present invention, in general, relates to amplifiers for musical instruments and, more particularly, to a strap for holding a guitar or other type of stringed musical instrument that either includes or is adapted to include an electrical pickup.  
         [0003]     There are many types of guitars, banjos, ukuleles, mandolins and other stringed instruments. Virtually all of these include a pair of pins, commonly referred to as “buttons” that are adapted to enter into a pair of slots on opposite sides of a support strap. This is sometimes referred to as a “two-pin strap mounting system.” The strap then drapes over the shoulder of the user and helps support the instrument at the proper position for playing.  
         [0004]     Many of these stringed instruments include an electrical/electronic/magnetic pickup. The pickup is essentially a type of a transducer (i.e., a microphone) that converts the acoustical vibrations emanating from the musical instrument into an electrical waveform that is representative of the sound produced. The electrical waveform is sent to an amplifier which, in turn, amplifies the electrical waveform to a greater magnitude (i.e., voltage). The amplified waveform is then supplied to speakers which reproduce the sound.  
         [0005]     This type of amplification is done in “real time”, therefore making the musical instrument sound louder. When a person or a band plays various instruments on a stage (i.e., during a performance), this is typically the manner by which a sufficient volume level is maintained so that all who are present can hear. Typically, a plurality of speakers are placed on the stage and are directed toward the listening public. In short, the musical instruments sound louder than they would normally be because the sound of the instruments are electrically amplified and the amplified sound is output through the speakers.  
         [0006]     The use of an acoustical pickup and amplification system allows for another important benefit and that is being able to adjust the output level of each musical instrument to the desired degree to harmonize with the other musical instruments. This is especially important because certain musical instruments are naturally louder than others.  
         [0007]     If it were not for an amplification system that can boost the sound pressure (i.e., the volume) of less powerful instruments while lessening the volume of more powerful instruments, the louder instruments would always tend to drown out the softer, quieter instruments. By varying the sound levels the musicians are able to highlight the performance of any instrument(s) while minimizing the performance of others. This provides a degree of artistic expression that is not limited by the sound output of any musical instrument. Controlling the volume of any instrument relative to another is known as “volume dynamics”.  
         [0008]     However, such an amplification type of system requires a good deal of setup and expensive equipment that must be transported, carried in, and then set up. The set-up takes time and is expensive if done by others. Also, these systems are complicated with numerous wires that abound on the stage. The wires on the stage pose a risk that the performers must avoid else they may become entangled with them possibly tripping or disconnecting certain instruments from the source of amplification as the performers move about on stage.  
         [0009]     There are times when such an elaborate amplification system is not required. When a stringed instrument is playing alone in a smaller area or in concert with perhaps only a few other instruments, such as a violin and/or an accordion (or with numerous other limited combinations), a small amount of sound amplification is all that is required to elevate the sound of the stringed instrument sufficient to blend and be properly heard.  
         [0010]     To satisfy this need a small battery powered amplifier has been available that is sold under the tradename “Smokey Joe.” It includes a small container the size of a pack of cigarettes for insertion into a shirt pocket along with an input jack, a small amplifier circuit, a small battery, and small speaker, all of which are contained in the container. Alternately, the Smokey Joe is inserted in a pocket elsewhere, for example, a pocket that is attached to a guitar strap. However, there are many disadvantages to this device.  
         [0011]     First, an electrical cord must be supplied and connected to the electrical jack (i.e., pickup) at the instrument at one end and to the prior art device at the other end. The cord, therefore, dangles and can become ensnared.  
         [0012]     Also, the speaker&#39;s output is muffled by the cloth material of the pocket that it is placed in, thereby distorting the sound and reducing its output accordingly.  
         [0013]     Lastly, there is no way to even modify such a device to amplify bass frequencies. Bass requires a larger speaker capable of producing bass notes. Such a speaker could never fit into the prior device&#39;s small pocket-sized container. If the container were made larger, then the container could not fit into the pocket, as intended.  
         [0014]     Additionally, the battery in the prior art device is limited. It cannot supply enough power for bass nor can it last for a lengthy concert or other type of extended duration performance.  
         [0015]     Also, most stringed instruments that include an electrical pickup also include a volume control. It is desirable for an amplifier circuit to produce a fixed amount of amplification for a known amplitude input wherein a musician can control the final sound output (i.e., volume) from a speaker by varying the volume control that, in turn, varies the amplitude of the input waveform and subsequently, the amplitude of the amplified waveform.  
         [0016]     Finally, it is desirable for the musician to also hear the speaker&#39;s output during a performance. This is useful for a variety of reasons, including allowing the musician to stay in harmony and verify that his instrument is producing the intended level of sound output.  
         [0017]     Also, while it is desirable to be able to turn such a system on or off, there is also a need for such an amplifier to include a maximum gain position in which the amplifier circuit is overdriven so as to “clip” the amplified waveform and produce the various harmonics associated with clipping. These harmonics are commonly referred to in the performing musical arts industry as “distortion”. Distortion is sometimes preferred and a way to produce it without elaborate stage amplification equipment is desirable.  
         [0018]     Accordingly, there exists today a need for an amplifier strap that helps to ameliorate the above-mentioned difficulties by including a speaker and optional amplifier circuit attached to an amplifier strap.  
         [0019]     Clearly, such an apparatus would be useful and desirable.  
         [0020]     2. Description of Prior Art  
         [0021]     A related prior art device is known that is sold under the tradename “Smokey Joe.” A guitar strap adapted to receive the Smokey Joe is available at the website, www.smokeyamps.com. Prior art U.S. Pat. No. 6,441,294 to Seli that issued Aug. 27, 2002 discloses a Tug-a-Wah device that is disposed intermediate an electric guitar and amplifier circuit that responds to neck movements of the guitar to affect the waveform.  
         [0022]     While the structural arrangements of the above-described device may, at first appearance, have similarities with the present invention, it differs in material respects. These differences, which will be described in more detail hereinafter, are essential for the effective use of the invention and which admit of the advantages that are not available with the prior devices.  
       OBJECTS AND SUMMARY OF THE INVENTION  
       [0023]     It is an object of the present invention to provide an amplifier strap that includes a speaker permanently attached thereto.  
         [0024]     It is also an important object of the invention to provide an amplifier strap that is adapted for use with a stringed instrument that includes an electrical pickup.  
         [0025]     Another object of the invention is to provide an amplifier strap that includes a speaker permanently attached thereto that is used to support a stringed instrument.  
         [0026]     Still another object of the invention is to provide an amplifier strap that includes an amplifier circuit that is attached to a strap used to support a stringed instrument.  
         [0027]     Still yet another object of the invention is to provide an amplifier strap that includes a speaker and an amplifier circuit that are attached to a strap used to support a stringed instrument.  
         [0028]     Yet another important object of the invention is to provide an amplifier strap that includes a source of power that is attached to a strap used to support a stringed instrument.  
         [0029]     Another important object of the invention is to provide an amplifier strap that includes an electrical plug and wire that is easily manageable and does not dangle.  
         [0030]     A first continuing object of the invention is to provide an amplifier strap that helps to hide a wire that is connected at one end thereof to a stringed instrument and to an amplifier circuit at an opposite end.  
         [0031]     A second continuing object of the invention is to provide an amplifier strap that includes a self-contained amplifier circuit, connections, and speaker.  
         [0032]     A third continuing object of the invention is to provide an amplifier strap that includes a self-contained amplifier circuit, connections, and a speaker that can produce bass.  
         [0033]     A fourth continuing object of the invention is to provide an amplifier strap that includes a self-contained amplifier circuit, connections, and a speaker that can produce bass for an extended period of time at a higher volume than previously attainable.  
         [0034]     A fifth continuing object of the invention is to provide an amplifier strap that includes a self-contained amplifier circuit, connections, and a speaker that can produce sound for an extended length performance.  
         [0035]     A sixth continuing object of the invention is to provide an amplifier strap that includes a self-contained amplifier circuit, connections, and a speaker attached to the strap and a battery pack that is worn elsewhere by the musician.  
         [0036]     A seventh continuing object of the invention is to provide an amplifier strap that includes a self-contained amplifier circuit, connections, and a speaker attached to the strap that eliminates wires on the floor.  
         [0037]     An eighth continuing object of the invention is to provide an amplifier strap that includes a self-contained amplifier circuit, connections, and a speaker attached to the strap that is attractive and unobtrusive.  
         [0038]     A ninth continuing object of the invention is to provide an amplifier strap that includes a self-contained amplifier circuit, connections, and a speaker attached to the strap wherein the speaker can be as large as desired.  
         [0039]     A tenth continuing object of the invention is to provide an amplifier strap that includes a self-contained amplifier circuit, connections, and a speaker attached to the strap wherein the speaker is disposed close enough to an ear of a musician so that the musician can hear the speaker&#39;s output.  
         [0040]     An eleventh continuing object of the invention is to provide an amplifier strap that includes a self-contained amplifier circuit, connections, and a speaker attached to the strap that is adapted for use with a stringed instrument having an electrical pickup and a volume control knob on the instrument.  
         [0041]     A twelfth continuing object of the invention is to provide an amplifier strap that includes a three-position switch, with an on position, an off position, and a maximum gain (distortion) position.  
         [0042]     Briefly, an amplifier strap that is constructed in accordance with the principles of the present invention always has a speaker permanently attached to a strap that is used to support a stringed musical instrument. An amplifier circuit is also preferably attached to the strap. A battery is either supported by the strap or is attached elsewhere to an article of clothing worn by a musician, for example, to a belt. The speaker&#39;s output is directed away from the musician. A pickup wire is attached to a jack at the instrument at a first end and to the amplifier circuit at an opposite second end. A pair of power supply wires connect the battery to the amplifier circuit and a pair of speaker wires connect the amplifier circuit to the speaker. A three-position switch is used to turn the amplifier circuitry on, shut it off, or to overdrive (i.e., clip and distort the amplified waveform) the amplifier circuitry. 
     
    
     BRIEF DESCRIPTION OF THE DRAWINGS  
       [0043]      FIG. 1  is a front plan view of an amplifier strap.  
         [0044]      FIG. 2  is a rear plan view of the amplifier strap of  FIG. 1 .  
         [0045]      FIG. 3  is a view in perspective of a first modified amplifier strap.  
         [0046]      FIG. 4  is a view in perspective of a second modified amplifier strap.  
         [0047]      FIG. 5  is a view in perspective of the amplifier strap of  FIG. 1  attached to a guitar. 
     
    
       [0048]     APPENDIX A is a schematic of a preferred amplifier circuit for use with the amplifier strap of  FIG. 1 .  
       DETAILED DESCRIPTION OF THE INVENTION  
       [0049]     Referring to all of the drawing figures and in particular now both to  FIG. 1  and  FIG. 2  is shown an amplifier strap, identified in general by the reference numeral  10 .  
         [0050]     The strap  10  is made of any desired material, for example, leather, nylon, fabric, etc.  
         [0051]     The strap  10  includes an upper keyhole slot  12  and a lower keyhole slot  14  for attachment of the strap  10  to a stringed musical instrument (not shown), for example, a guitar.  
         [0052]     Pins (not shown) on the musical instrument cooperate with the upper and lower keyhole slots  12 ,  14  to secure each end of the strap  10  to an appropriate location on the instrument. This is well-known in the musical arts where the pins, as mentioned hereinabove, are often referred to as “buttons” because each pin includes an enlarged head that the keyhole slots  12 ,  14  retain, similar to the way in which a slot (not shown) that is provided in a pair of pants (not shown) secures a conventional type of a button (not shown).  
         [0053]     A speaker  16  is attached proximate an upper end of the strap  10 . The attachment near the upper end is important because it ensures that sound output from the speaker  16  will not be blocked by the instrument itself.  
         [0054]     It also places the speaker  16  proximate a head (not shown) of a musician, thereby enabling the musician to simultaneously hear the musical instrument&#39;s natural (i.e., not amplified) output, the output of other instruments that may be playing, and the speaker&#39;s output (i.e., the musical instrument&#39;s amplified output) while playing.  
         [0055]     This allows the musician to adjust the gain (i.e., to vary a potentiometer commonly found on the musical instrument) which, in turn, adjusts the output volume of the speaker  16  to a desired level.  
         [0056]     The speaker  16  is attached by rivets  18  or any other preferred method of permanently securing the speaker  16  to the strap  10 . If desired, an end of the speaker  16  can be loosened for access as needed for cleaning, etc.; however, the speaker  16  is designed to remain with the strap  10 .  
         [0057]     Numerous benefits are attained when the speaker  16  is permanently attached to the strap  10 , for example, the strap is optimized so as to not muffle the speaker&#39;s output, as is described in greater detail hereinafter. Also, the direction the speaker  16  faces so that the listening public can optimally hear it, the ability of the musician to simultaneously hear its output, and other benefits are provided as are described in greater detail hereinafter.  
         [0058]     The speaker  16  is located on the inside of the strap  10 , adjacent to the musician&#39;s body. In this way, the speaker&#39;s  16  output is directed away from the musician.  
         [0059]     A plurality of holes  20  are provided in the strap  10  which act as a protective layer over the speaker  16  that allows the undistorted sound to emanate from the strap  10 . The holes  20  do not mute or muffle the sound output any more than does a covering over a conventional type of a loudspeaker (not shown). The size, quantity, and position of the plurality of holes  20  are matched to the speaker  16 , and therefore optimize the sound that is produced.  
         [0060]     It is important to note that the speaker&#39;s  16  output radiates directly in a straight line away from the amplifier strap  10  and toward a listening audience (not shown). There is no cloth or other material disposed over the speaker  16  that could otherwise diminish or degrade the clarity or the level of its output, such as would occur if a prior art type of a pocket (not shown) were used.  
         [0061]     The holes  20  are punched or otherwise formed in the strap  10  and include a size and shape that optimizes sound transmission. The holes  20  can include any size or shape of an opening in any quantity or density, as desired.  
         [0062]     An amplifier circuit  22  is attached to the strap  10  proximate the speaker  16 . A pair of speaker wires  24  connect the output of the amplifier circuit  22  to the speaker&#39;s  16  input.  
         [0063]     A replaceable or rechargeable battery  26  is attached to the strap  10  proximate the amplifier circuit  22 . A pair of power supply wires  28  connect the battery  26  to the amplifier circuit  22 .  
         [0064]     A pickup wire  30  includes a first end  30   a  that is attached to a ¼ inch male connector plug  32 . The connector  32  fits into a standard ¼ inch female socket (not shown) that is of the type commonly used on the instrument. The socket is commonly referred to as a “jack” in the musical arts.  
         [0065]     A section of coiled cord, identified in general by the reference numeral  34 , is preferably included with the pickup wire  30  proximate the connector  32 . The coiled cord  34  allows for controlled expansion as required for the connector  32  to mate with the socket without excessive slack or draping of the pickup wire  30 .  
         [0066]     The pickup wire  30  includes an opposite second end  30   b  that is electrically attached to the amplifier circuit  22 .  
         [0067]     A plurality of ties  36  secure the pickup wire  30  to the back of the strap  10  while directing the pickup wire  30  so that the first end  30   a  is disposed proximate a bottom of the strap  10 .  
         [0068]     The pickup wire  30 , when fully extended, forms an electrical cord that is approximately seven feet in overall length.  
         [0069]     This type of an electrical amplifier circuit  22  is not new, and, therefore, the circuitry is not described in detail, it being well-known in the electrical audio amplification art to those possessing ordinary skill in such art. A preferred type of the amplifier circuit  22  is shown in APPENDIX A. The amplifier circuit  22  is selected from any conventional design, as is well known in the art.  
         [0070]     In use, the musician drapes the strap  10  around the back and over his or her shoulder with the end proximate the speaker  16  on top. The keyhole slots  12 ,  14  of the strap  10  are fastened to the pins (i.e., buttons) of the instrument. The connector  32  is plugged into the socket of the instrument, and a three-position switch  53  is urged from a first “off” position into a second “on” position, after which the musician plays the instrument. The amplifier circuit  22  receives an electrical input through the pickup wire  30  from the instrument, amplifies it, and uses the amplified waveform to drive the speaker  16 .  
         [0071]     Accordingly, amplification of the instrument is provided without any cords on the floor for the musician to trip or become entangled with. There are no amplifiers or power sources that are disposed external (i.e., away from) the musician. The system is entirely portable. When the musician is done performing, the switch  53  is turned “off” and the connector  32  is pulled from the jack (i.e., socket). Amplification ceases and battery  26  life is optimally prolonged. Set-up and take-down is accomplished by turning the switch  53  on or off, respectively, and by plugging the connector  32  in the socket or removing it from the socket, thereby providing virtually instant set-up where desired. It is even possible to leave the connector  32  attached to the jack (socket) and simply turn the switch  53  on or off, as desired.  
         [0072]     If the musical instrument has a gain control (i.e., a potentiometer), the musician adjusts it which, in turn, adjusts the input into the amplifier circuit  22 . When the switch  53  is in the second “on” position, the amplifier circuit  22  provides a constant gain (i.e., degree of electrical amplification) in a normal operating range. Therefore, when the musical instrument&#39;s gain control is adjusted, the input to the amplifier circuit  22  is increased or decreased accordingly, and the sound volume emanating from the speaker  16  is similarly increased or decreased to suit.  
         [0073]     The user is able to adjust the volume output level when the switch  53  is in the second “on” position so that a substantially undistorted (all amplifier circuits  22  introduce at least some distortion to a waveform) sound is heard from the speaker  16 . The second “on” position may be labeled as “on” or “clear tone” or “normal” (or otherwise) to indicate that a pure, undistorted sound is being produced.  
         [0074]     If desired, a more sophisticated amplifier circuit  22  is provided with gain control attached thereto.  
         [0075]     However, it is common practice to overdrive a sound amplification system during live performances (and even to capture this on recording media). When the amplifier circuit  22  is overdriven, the waveform “clips”, which means that a sufficiently high output voltage for the waveform cannot be produced, thereby it “clips” at its maximum volume for portions of the musical performance. Various harmonics are also produced and the resultant sound is said to include “distortion”. Distortion is associated with live musical performances and is surprisingly common and desirable, for it adds a unique sound.  
         [0076]     The switch  53  includes a third position, “distortion” in which a greater amount of gain (amplification) is introduced by the amplifier circuit  22  than when the switch  53  is in the second on position so that, when the musical instrument&#39;s gain control is set to normal levels, at least some distortion (i.e., clipping) occurs. The musical instrument&#39;s gain control is adjusted to optimize the amount of distortion that occurs.  
         [0077]     Accordingly, the amplifier strap  10  can be set to produce clean, yet amplified sound or distorted sound, as desired.  
         [0078]     A first modification (see  FIG. 2 ) to the amplifier strap  10  includes a belt clip  38  that is adapted to attach to a belt (not shown) or over an upper rim of a pair of pants. The belt clip  38  supports a remote battery  40 . The remote battery  40  has more energy storage capability than the battery  26  and, accordingly, can drive a more powerful version of the amplifier circuit  22  and a first larger speaker  42 , as is described in greater detail hereinafter. It can also last longer than the battery  26 , which is useful for extended performances.  
         [0079]     Also, when lower frequencies are amplified (i.e., bass sounds), a substantially greater amount of electrical energy is used than when mid range or high frequency sounds are amplified. This is because the human ear is especially sensitive to mid and high frequency sounds whereas a substantially greater energy level is required for bass frequencies. The remote battery  40  provides ample electrical energy for enhanced bass performance.  
         [0080]     If desired, a remote amplifier circuit  44  is also attached to the belt clip  38 . Of course, if desired, separate belt clips  38  could be provided, one for the remote battery  40  and another for the remote amplifier circuit  44 . Additional belt clips  38  can also be provided to support additional remote batteries  40  that are wired in parallel or series, as desired, to further increase the capability of the amplifier strap  10 .  
         [0081]     A remote wire  46  is used to electrically connect the remote battery  40  to the amplifier circuit  22 . Alternately, the remote wire  46  is used to electrically connect an output of the remote amplifier circuit  44  to the speaker  16  and an input of the remote amplifier circuit  44  to the second end  30   b  of the pickup wire  30 .  
         [0082]     Referring to  FIG. 3  is shown a first modified strap  50  that is wider and includes the first larger diameter speaker  42 . The first larger diameter speaker  42  includes a diameter of approximately three inches and a power handling capability of approximately one-half watt.  
         [0083]     The first larger diameter speaker  42  has a lower frequency response capability than the speaker  16  and, therefore, delivers better bass and generally greater volume. The amplifier circuit  22  and battery  26  are sized to suit the first larger diameter speaker  42  or, alternatively, the remote battery  40  and/or remote amplifier circuit  44  are used with the first larger diameter speaker  42 , as desired.  
         [0084]     A plurality of larger openings  52  are disposed over the first larger diameter speaker  42  and are optimized in size, location, shape, and quantity to allow for optimum sound transmission through the larger openings  52 .  
         [0085]     The first larger diameter speaker  42  is useful whenever either a greater amplified volume is preferred, for example, when playing with other more powerful instruments or in noisy environments. It also provides cleaner, purer sound with less likelihood of distortion from clipping (i.e., overdriving the amplifier circuit  22  and the speaker  16 ) when the switch  53  is in the second on position.  
         [0086]     It is also noted that certain musicians at certain times actually prefer the harmonic overtones that clipping can produce. Any version of the amplifier strap  10 ,  50 ,  100  can produce clipping, if desired, by setting the switch  53  to the third “distortion” position and by adjusting the gain on the musical instrument to a desired level. When the gain control on the musical instrument is set to a near-maximum level and the switch  53  is set to the third “distortion” position, then it is virtually assured that the amplifier circuit  22  will be overdriven and that at least some distortion will be heard.  
         [0087]     Referring to  FIG. 4  is shown a second modified strap  100  that is wider still and includes a second larger diameter speaker  102 . The second larger diameter speaker  102  includes a diameter of approximately 4 and ½ inches and a power handling capability of approximately 2 and ½ watts.  
         [0088]     The second larger diameter speaker  102  has a lower frequency response than the first larger diameter speaker  42  and, therefore, delivers even better bass, cleaner sound, and generally more volume. The amplifier circuit  22  and battery  26  are again sized to suit the second larger diameter speaker  102  or, alternatively, the remote battery  40  and/or remote amplifier circuit  44  are used with the second larger diameter speaker  102 , as desired.  
         [0089]     The second larger diameter speaker  102  is either open or it has a speaker cloth over its surface. The second larger diameter speaker  102  can be attached directly under the second modified strap  100  (not shown) similar to the speaker  16  and the first larger diameter speaker  42 .  
         [0090]     However, the second larger diameter speaker  102  preferably includes a pair of diametrically opposed brackets  104 ,  106 . The second modified strap  100  is cut in half to produce a first half  100   a  and a second half  100   b . An interior end of each half  100   a ,  100   b  is attached to one of the brackets  104 ,  106 .  
         [0091]     Both the first modified strap  50  and the second modified strap  100  provide the same benefits of easy set-up, no cords on the floor, etc., as the amplifier strap  10  while also providing increased levels of performance.  
         [0092]     The second larger diameter speaker  102  is useful whenever either a still greater amplified volume is preferred, for example, when playing with other even more powerful instruments, or in especially noisy environments.  
         [0093]     Any version of the amplifier strap  10 ,  50 ,  100  can include a housing (not shown) that is used to cover any of the component parts thereof, the housing being disposed on an inside of the strap  10 ,  50 ,  100  between the strap  10 ,  50 ,  100  and the body of the user.  
         [0094]     Referring now in particular to  FIG. 5  is shown the amplifier strap  10  attached to a guitar  200  as a preferred type of the musical instrument, ready for use.  
         [0095]     The invention has been shown, described, and illustrated in substantial detail with reference to the presently preferred embodiment. It will be understood by those skilled in this art that other and further changes and modifications may be made without departing from the spirit and scope of the invention which is defined by the claims appended hereto.