Patent Publication Number: US-6703546-B1

Title: Ergonomic multi-position guitar with locking fingertip tremolo and pick holder

Description:
The application is a Division of Application No. 09/935,915 filed on Aug. 24, 200, now U.S. Pat. No. 6,573,439, the entire contents of which are hereby incorporated by reference. 
    
    
     BACKGROUND OF THE INVENTION 
     1. Field of the Invention 
     The present invention relates to an electric guitar or other stringed instrument ergonomically designed to maximize comfort and stability of playing positions, both sitting and standing, while producing a minimum amount of fatigue in the instrumentalist. 
     2. Related Background Art 
     Heretofore devices exist for use with the guitar in order to make it more easily playable and expressive. One of the most common problems associated with playing the guitar is physical discomfort —particularly back and shoulder pain —derived from holding the instrument. Patents: RE 31,722; 4,592,265; 3,955,461; DES 410,699; and 4,339,981 are just a few of the attempts at producing a more comfortable or stable guitar. 
     Most guitar designs require the instrumentalist&#39;s back to twist when seated with the guitar. The back twists to the right when the guitar is placed upon the right thigh and to the left when the guitar is placed upon the left thigh. Also, when placed upon the left thigh, additional stands or footrests are often used under the left foot, throwing the hips out of alignment. Shoulder strain is often induced from holding the instrument in these positions as well. 
     SUMMARY OF THE INVENTION 
     Accordingly, it is a primary object of the present invention to provide a stringed instrument, which maximizes comfort of the instrumentalist in multiple playing positions. 
     The objects of the present invention are fulfilled by providing an ergonomically designed stringed instrument comprising: a main body portion having first and second spaced distal end faces longitudinally thereof, and spaced distal top and bottom faces vertically thereof, and spaced front and rear surfaces; an elongated fingerboard extending from a first one of said end faces; a bridge for supporting strings of the instrument disposed closely adjacent to the second one of the end faces; a leg rest attached to a second end face and extending therefrom, said leg rest being angularly adjustable between selectable supporting positions; an upper horn extending from a region of the top face of the body, said upper horn having a contoured rear surface shaped to conformingly engage the upper body of the instrumentalist; and a belly rest extending from the rear surface of the instrument for engagement with an instrumentalist&#39;s abdomen. 
     It is the intention of this invention to eliminate the aforementioned problems by allowing the instrumentalist to sit almost perfectly at ease; with a straight back, even hips, and relaxed shoulders. One significant point in achieving this is shaping the guitar body below the bridge as close to the bridge as possible. This shape allows the guitar bridge to rest just above the instrumentalist&#39;s right thigh, as opposed to off the right side of the instrumentalist&#39;s right thigh (the norm in traditional guitar body design). This straightens the instrumentalist&#39;s back as the guitar moves to center, as well as reduces strain in the right shoulder. 
     With the guitar body contacting the instrumentalist&#39;s right thigh at a point below the bridge near the end of the guitar, a significant amount of the weight of the guitar is shifted to the instrumentalist&#39;s left. This weight is held, and the guitar kept in balance, by the multi-adjustable leg rest. The legrest curves toward the back of the guitar so that it more appropriately rests upon the instrumentalist&#39;s left thigh as opposed to toward his knee. This provides a better sense of balance and stability. The legrest curvature also provides a better angle for the legrest to rest on the chair which the instrumentalist is seated upon when this option is chosen. 
     Use of the legrest allows the position of the guitar&#39;s neck (and body) to be set to the instrumentalist&#39;s preference and comfort. However, it is the observation of the inventor that even a “perfect” playing position can cause fatigue and physical discomfort if it is maintained unchanged for a long period of time. Thus the adjustable features of this guitar body design (legrest, armrest, and side rest) allow the instrumentalist to position himself within a range of ideal positions with instant adjustments. Even odd positions, such as sitting back on a soft sofa or on the floor, can be accommodated. The use of a guitar strap with this instrument will also provide variations in stability and comfort. No other guitar provides such a wide range of adjustable comfort and support options. 
     The adjustable armrest is designed to reduce tension and fatigue in the instrumentalist&#39;s right shoulder. Typical guitar design requires that the instrumentalist often hold his arm in an up, outward, or back position which can produce fatigue (especially over long periods of time). The adjustable armrest allows the weight of the arm to be held in a natural, relaxed position with a minimum of effort and therefore fatigue. The curvature of the armrest can provide horizontal support, which prevents the weight of the instrumentalist&#39;s arm from falling towards the ground, as well as vertical support, which prevents the instrumentalist&#39;s arm from falling in towards his body. The armrest can pivot as well as slide along a support arm. A variety of armrests, with different heights and curvatures, can also be quickly selected or changed with the use of the quick release armrest clamp. The instrumentalist may also play the guitar with the armrest removed for further variety and comfort. 
     It is the inventor&#39;s observation that when weight of the right arm rests upon the body of a guitar (traditional design or the current invention) that the guitar tends to spin and fall toward the back of the instrumentalist. This requires extra effort to hold the guitar in place and produces fatigue. To remedy this common problem, the current invention includes an adjustable side rest placed at the back of the guitar just behind the armrest. The side rest transfers weight placed upon the armrest to the instrumentalist&#39;s side and eliminates the guitar&#39;s tendency to spin. Fatigue is greatly reduced and stability increased as the armrest can more fully support weight applied to it. The side rest is quickly adjustable by sliding it along a support base. Different side rest adjustments provide varying degrees of support. 
     Other ergonomic guitar body features include: a belly rest to provide stability where the instrument contacts the instrumentalist&#39;s abdominal area; a long inward curving upper horn for support against the instrumentalist&#39;s chest, as well as balance; strap buttons located at the end of the long upper horn as well as at the end of the armrest support base arm —this provides for better balance of the instrument and does not pull the instrument uncomfortably into the instrumentalist&#39;s body as in traditional guitar design where the strap buttons are located in the same plane as the guitar&#39;s main body (the human body is round, not flat); guitar body shaped and tapered to meet the instrumentalist&#39;s right arm at approximately 90 degrees; the lower edge of the guitar and legrest shaped at approximately 15 degree angle to accommodate the slight backward tilt of the guitar body in playing position; guitar body shaped to allow full fingerboard access; smooth body shaping (cutaway) where the back of the guitar meets the instrumentalist&#39;s ribcage area; and overall smooth body shaping and rounding with a minimum of body size and weight. 
     Performance related improvements to this guitar include the fixed tremolo bar and fixed tremolo bar locking mechanism. A significant amount of prior art exists describing tremolos as well as several tremolo locks. The basic function of tremolos is to add musical expressiveness by allowing the lowering and/or raising of the pitch of the guitar strings. The disadvantage with most tremolo arms is that they often have to be grabbed for when their effect is desired and then pushed away or allowed to fall when no longer needed. A fixed tremolo bar, which remains instantly ready at the instrumentalist&#39;s fingertips, is highly desirable. This eliminates the need to go grabbing for the tremolo arm at awkward or inopportune moments and provides constant tremolo access. A tremolo bar cavity allows for use of the tremolo by providing space for the instrumentalist&#39;s fingertips to work the tremolo as well as space for the tremolo bar to move in towards the guitar&#39;s body when lowering the pitch of the strings. 
     The usefulness of a tremolo lock is well documented in prior art. At times, the tremolo effect is undesirable as it can adversely affect the pitch and tuning stability of the guitar. A sliding latch type tremolo lock is included for use with the fixed tremolo bar. This sliding latch tremolo lock provides the ability to instantly lock or unlock the tremolo as desired. No other tremolo lock consists of a sliding latch which engages the tremolo bar. This is due largely to the relative uniqueness of the fixed tremolo bar (most pivot their connection with the base). This lock will only properly engage the specialized fixed tremolo bar. Traditional (unfixed or floating) tremolo arm motion would allow the tremolo arm to be pushed out of the way by the lock latch if attempted. 
     The usefulness and desirability of guitar pick holders are well documented in prior art. However, most of these are external devices that are clamped or stuck upon the surface of the guitar. These others may function well at holding picks but suffer one or more of the following problems: the pick holder is visually detracting; the pick holder, if placed for optimum convenience of use (in the strumming area near the strings) is physically obstructive to playing, i.e., it can be hit while strumming the strings; the pick holder does not hold the pick in a “ready to play” position”. Therefore, an improved pick holder would hold the pick in a ready position, be mounted unobtrusively and be placed within the strumming area. 
     A flush mounted guitar pick holder has been included in this invention, built into the guitar body itself. No other pick holder known to the inventor makes this claim. By building the pick holder into the instrument, exact placement and usefulness can be achieved with virtually zero obtrusiveness to the instrumentalist. This design is especially useful for switching between pick and non-pick (fingerstyle) playing. 
     Further scope of applicability of the present invention will become apparent from the detailed description given hereinafter. However, it should be understood that the detailed description and specific examples, while indicating preferred embodiments of the invention, are given by way of illustration only, since various changes and modifications within the spirit and scope of the invention will become apparent to those skilled in the art from this detailed description. 
    
    
     BRIEF DESCRIPTION OF THE DRAWINGS 
     The present invention will become more fully understood from the detailed description given hereinbelow and the accompanying drawings which are given by way of illustration only, and thus are not limitative of the present invention, and wherein: 
     FIG. 1 is a front elevational view of the overall shape and combination of the elements of the ergonomically designed guitar of the present invention; 
     FIG. 2 is an exploded, perspective view of a of a legrest portion of the guitar of FIG. 1; 
     FIG. 3 is an exploded, perspective view of a tremolo bar and locking mechanism for use with the guitar of FIG. 1; 
     FIG. 4 is an assembled perspective view of a tremolo bar and locking mechanism of FIG. 3; 
     FIG. 5A is an expanded perspective view depicting the armrest of the present invention; 
     FIG. 5B is an assembled perspective view of the armrest of FIG. 5A shown separated from a support base arm thereof; 
     FIG. 5C is a cross-sectional view taken along line  5 C— 5 C of FIG. 5B; 
     FIG. 6 is an exploded, perspective view of a siderest for use with the armrest of FIGS. 5A and 5B; 
     FIGS. 7A,  7 B, and  7 C are first, second, and third embodiments of guitar pick holders built into the body of the guitar of FIG. 1; and 
     FIG. 8 is a rear angled elevational view of the overall shape of the guitar assembly of the present invention. 
    
    
     DETAILED DESCRIPTION OF THE PREFERRED EMBODIMENTS 
     FIG. 1 is a front elevational view of the overall shape and combination of elements of the ergonomically designed guitar of the present invention. The Main Body  10  is shaped so that the bottom face of the guitar is as close as possible in region  12  to the Guitar Bridge  85 . This allows for more comfortable use of the instrument—particularly in the seated position. The bottom face is also angled at approximately fifteen degrees  14  (not readily visible in FIG. 1) from the front to the rear surface to accommodate the backward leaning of the instrument upon the instrumentalists lap. The top face of the body  10  is rounded and shaped at region  15  to meet the instrumentalists strumming or plucking arm at approximately ninety degrees. Continuing along the top face is a smooth contour for contact with the instrumentalist&#39;s body  20  and a long inward curving Upper Horn  18  for stability, balance and comfort. The distal end to which the instrument&#39;s neck is attached is smoothly cut away at  25  to allow for full access to the highest frets of the neck. 
     A pivoting Legrest  16  (detailed in FIG.2) provides the instrumentalist with a variety of options for comfort and stability. The Legrest  16  is also removable if that option is not chosen by the instrumentalist. 
     The Armrest Clamp Assembly  98 , detailed in FIGS. 5A-5C, is mounted upon the Support Base Arm  122 —part of the Support Base  120  detailed in FIG.  6 —which is mounted in turn to the rear face of the guitar. The Armrest Clamp Assembly  98  provides for a variety of supporting positions for the instrumentalists strumming or plucking arm. The Armrest Clamp Assembly  98  is also removable as well as interchangeable with other Armrest Clamp Assemblies of different heights and curvatures. 
     The adjustable Side Rest  126  (detailed in FIG. 6) transfers weight placed upon the Armrest  100  to the instrumentalist&#39;s side as well as provides stability. Strap Buttons  24  are located at the tip of the Upper Horn  18  and at the tip of the Support Base Arm  122  for comfort, stability, and balance of the instrument. An alternate strap button location  26  is suggested for use if the Armrest Assembly  98 , Siderest  126 , and Support Base  120  (and thus Support Base Arm  122 ) options are not chosen by the instrumentalist. 
     The Fixed Tremolo Bar  84  Provides for instant control of the tension (and therefore pitch) of the strings of the present invention. Both the raising and the lowering of the pitch of the strings are directly controllable from the Fixed Tremolo Bar  84  by the instrumentalist&#39;s fingertips. The Tremolo Bar Cavity  86  provides space for Tremolo Bar  84  usage as well as the instrumentalist&#39;s fingertips. The Tremolo Lock Assembly  66  (detailed in FIGS. 3-4) instantly locks the tremolo system when desired. 
     An internally mounted Guitar Pick Holder  28  (detailed in FIGS. 7A-7C) is included on the front face of the main body  10  for the convenience of the instrumentalist. 
     A symmetrical headstock shape  22  is suggested for the present invention to provide for best stability when placed in hanging type guitar stands and racks for display. 
     In FIG. 2, the multi-positional Legrest  16  pivots and locks through the use of the Legrest Pivot/Locking mechanism assembly  29 . The Legrest  16  itself is a separate piece from the Main Body  10 . The Legrest Lock Base Plate  30  mounts to the rear of the Legrest  16  with the Legrest Lock Base Plate Mounting Screws  42 . Upon the Legrest Lock Base Plate  30 , the Legrest Lock Lever Bracket  32  is mounted with the Legrest Lock Lever Bracket Mounting Screws  34 . This Bracket  32  serves as a fulcrum/pivot point for the Legrest Lock Lever  36 , which is bolted into it with the Legrest Lock Lever Pivot Bolt  40 . Beneath the Thumb Tab  38  portion of the Lock Lever  36  is a Depth Stop  46 , which keeps the Lever  36  from being depressed too far, and a Lock Lever Spring  44  to return the Lever  36  to a locked position when it is released. A Locking Pin  48  is bolted into a hole in one end of the Legrest Lock Lever  36  with the Legrest Locking Pin Pivot Bolt  50 . When the Thumb Tab  38  of the Locking Lever  36  is depressed, it causes the Locking Pin  48  at the other end of the Lever  36  to rise through a Locking Pin Receiving Hole  57  in the Legrest Lock Bottom Body Plate  56  and thus unlocks the Legrest Locking Mechanism  29 . The Thumb Tab Depth Stop  46  keeps the Locking Pin  48  from being lifted out of the hole in the Legrest Lock Base Plate  30 . With the Thumb Tab  38  depressed, the Locking Assembly  29 , and thus the Legrest  16 , can pivot on a Pivot Bolt  52  which mounts through the other end of the Legrest Lock Base Plate  30 —in between the Top and Bottom Legrest Lock Body Plates  58  and  56 , the Legrest Lock Pivot Bolt Washers  62 , and into a Threaded Insert  54  in the guitar main body  10 . The Legrest Lock Bottom Body Plate  56  has Locking Pin Receiving Holes  57  along an arc of the circumference of a circle about 1 inch from the Legrest Lock Pivot Bolt  52 . The different Locking Pin Receiving Holes  57  allow the Legrest  16  to be locked in different positions. These Receiving Holes  57  receive the Locking Pin  48  when the Legrest Locking Mechanism  29  is adjusted and the Legrest Locking Lever Thumb Tab  38  is released, and thus (with the Legrest Lock  44  pushing upon the Lock Lever  36  and driving the Locking Pin  48  into one of the Locking Pin Receiving Holes  57 ), locks the Legrest  16  in that position. The Legrest Lock Top and Bottom Body Plates  58  and  56  mount to the Main Body  1 C with the Legrest Lock Body Plate Mounting Screws. Legrest Lock Body Plate Spacers  60  are used to provide space for the Legrest Lock Base Plate  30  to pivot between the Body Plates  58  and  56 . 
     The Tremolo Bar  84  (FIGS. 1 and 4) is of a specialized fixed type which remains ready for use at the instrumentalist&#39;s fingertips at all times. It does not pivot in regards to the Tremolo Bridge  85  (FIGS. 1 and 4) as is the norm in traditional design. The Tremolo Bar  84  Bolts directly to the Tremolo Bridges&#39;  85  base plate or block. The lower edge of the Tremolo Bar  84  is Tapered and Rounded  88  (FIG. 4) to allow better gripping and control by the instrumentalist&#39;s fingertips. A Tremolo Bar Cavity  86  (FIG. 1) is routed into the guitar body to allow for tremolo bar usage as well as for the instrumentalist&#39;s fingertips during usage. 
     The Tremolo Lock Assembly  66  (FIGS. 1,  3 , and  4 ) mounts to a Threaded Insert  82  (FIG.3) in the guitar Main Body  10  in a simple routed cavity (not pictured) with a single Tremolo Base Mounting Bolt  80 , which passes through the center of the Tremolo Lock Base  68  (FIG.  3 ). In FIG. 4, the Tremolo Lock Latch  70  slides through a channel in the Tremolo Lock Base  68  to engage the bottom of the Tremolo Bar  84 . As shown in FIGS. 3-4, four Tremolo Lock Alignment Screws  78  in the Tremolo Lock Base  68  adjust to level the plane of the Lock Base  68 , and thus the Lock Latch  70 , for perfect contact with the bottom of the Tremolo Bar  84 . A Tremolo Lock Pressure Plate  72  and a thin rubber Tremolo Lock Pressure Washer  74  adjust the desired feel or tightness of the Tremolo Latch  70  sliding within the Tremolo Lock Base  68 . One end of the Tremolo Latch  70  has a hole  70 A in it, which provides access for one-finger adjustments by the instrumentalist. The opposite end of the Tremolo Latch  70  slides to engage the bottom of the Tremolo Bar  84  (FIG. 4) and prevents downward motion of the Tremolo Bar  34  (thus preventing lowering the pitch of the strings). To prevent the Tremolo from moving upward (causing the pitch of the strings to rise), a Tremolo Lock Up-Pull Stop  90  (FIG. 4) is mounted to the bottom of the Tremolo Bar  84  with the Up-Pull Stop Mounting Screws  96 . This Up Pull Stop  90  catches against the tip of the Lock Latch  70  when the Latch  70  is in the locked position. A Tremolo Lock Up-Pull Stop Spacer  94  is mounted between the Up-Pull Stop  90  and the Tremolo Bar  84  to provide for the thickness of the Lock Latch  70 . A small Tremolo Lock Spring Clip C 52  (a slightly bent piece of thin spring steel) is mounted between the Up-Pull Stop  90 , and the Up-Pull Stop Spacer  94  to prevent any slack space around the Lock Latch  70  when it is in the locked position. This prevents any unwanted noise caused by sympathetic vibrations. The bottom edge of the Lock Latch  70  (facing away from the Tremolo Bar  84 ) is slightly tapered or curved to facilitate its sliding between the Tremolo Bar  84  and the Up-Pull Stop  90  (and Spring  92 ). 
     In FIG. 5B, the Multi-positional Armrest Clamp Assembly  98  mounts upon the Support Base Arm  122 , which is attached to the rear of the main body of the guitar. The Armrest Assembly  98  can be attached to and removed from the Support Base Arm  122  with the Armrest Clamp  107 . Once attached, the Armrest Clamp  107  slides longitudinally upon the Support Base Arm  122 . As shown in FIGS. 5A and 50, an Armrest Clamp Spacer  112  between the Armrest Clamp Top Plate  108  and the Armrest Clamp Bottom Plate  110  provides for the thickness of the Support Base Arm  122 . The Armrest Clamp Spacer  112  also functions as a stop when the Armrest Clamp  107  slides upon the Support Base Arm  122 . As the Armrest Clamp  107  slides upon the Support Base Arm  122 , the Armrest Clamp Locking Tab  114  is pushed backwards away from the Support Base Arm  122 . The Armrest Clamp Locking Tab Spring  116  (a flexible piece of flat spring steel in the prototype) allows for the Locking Tab&#39;s  114  motion (storing tension). As the Armrest Clamp  107  completes sliding upon the Support Base Arm  122 , the Locking Tab  114  passes the edge of the Support Base Arm  122  and snaps snugly against the lower edge of the Support Base Arm  122 , releasing the tension stored in the Locking Tab Spring  116 . To remove the Armrest Clamp  107 , the Locking Tab  114  is lightly depressed. This allows the Locking Tab  114  to clear the Support Base Arm  122  so the Armrest Clamp  107 , and thus the entire Armrest Clamp Assembly  98 , can be removed. 
     The Armrest  100  itself mounts in the Armrest Bracket  102 . A single Armrest Pivot Bolt  104  with Armrest Pivot Bolt Washers  106  between the Armrest Bracket  102  and the Armrest  100  allows the Armrest  100  to pivot in the Armrest Bracket  102  as well as provides necessary adjustable tension for the Armrest  100  to support the weight of the instrumentalist&#39;s arm. The Armrest Bracket  102  is mounted to the Armrest Clamp Top Plate  108  with the Armrest Bracket Mounting Screws  103 . Different Armrest curvatures, including flat, should be available to provide for different instrumentalist taste and needs. Different Bracket heights should also be available. 
     As shown in FIG. 6, the adjustable Side Rest  126  slides upon the Support Base  120 , which is mounted to the rear face of the Main Body  10  of the guitar. Along the center of the Support Base  120  is the Support Base Slot  124 . The Side Rest  126  is bolted to the Side Rest Pressure Plate  132  with the Side Rest Pressure Plate Mounting Screws  136  through the Support Base Slot  124 . It is important that the Side Rest Pressure Plate  132  has room to move between the Support Base  120  and the Main Body  10  of the guitar. To provide for this space, Support Base Mounting Spacers  140  can be mounted between the Support Base  120  and the Main Body  10  or a shallow channel (not pictured), parallel to the Support Base Slot  124 , can be routed into the Main Body  10  of the guitar. The Side Rest Pressure Plate Ridge  134  in the center of the Side rest Pressure Plate  132  keeps the Side Rest Pressure Plate  132 , and thus the Side Rest  126 , in alignment with the Support Base  120  as it slides along the Support Base Slot  124 . By pressing down on the Side Rest Base  130 , the Side Rest  126  can be adjusted along the Support Base  120 . Adjustment of the Side Rest Pressure Plate Mounting Screws  136 , which connect the Side Rest  126  to the Side Rest Pressure Plate  134 , controls the amount of pressure required to slide the Side Rest  126  along the Support Base  120 . With proper Pressure Plate  132  adjustment, weight applied to the Side Rest  126  by the instrumentalist will not cause the Side Rest  126  to move unwantedly. This is due to the fact that pressure applied to the Side Rest  126 —especially toward the Side Rest Tip  128 —causes a subtle twisting motion between the bottom of the Side Rest Base  130 , the top of the Side Rest Pressure Plate  132 , and the Support Base  120 . This twisting motion “locks” the Side Rest  126  in place when weight is applied to it during use. Downward pressure, as described earlier, defeats this locking effect and allows the Side Rest  126  to be adjusted along the Support Base  120 . 
     FIG. 7A illustrates the first embodiment of a guitar pick holder built into the front face of the Main Body  10  of the present invention. A narrow Routed Channel  142  is cut into the Main body  10  of the guitar. The channel is sufficient in size and depth to hold a standard size Guitar Pick  148 , but not so deep that the Guitar Pick  148  can be lost inside of it. The inside of the Channel  142  is coated with a Rubber or Sponge-like Material  144 , which gently grabs but does not adhere to the Guitar Pick  148  when inserted. Approximately twenty-five to thirty percent of the Guitar Pick  148  remains above the Main Body  10  of the guitar when fully inserted. This allows for its easy removal when needed. This embodiment is in use on the current prototype. 
     FIG. 7B illustrates the second embodiment of a guitar pick holder built into the Main Body  10  of the guitar. A narrow Routed Channel  142  is cut into the Main body  10  of the guitar. The channel is sufficient in size and depth to hold a standard size Guitar Pick  448 , but not so deep that the pick can be lost inside of it. A thin rubber sheet  148  a slit in it is attached to the Main Body  10  above the Channel  142 . The Guitar Pick  148  is held in place by the edges of the slit in the Rubber Sheet  146 . 
     FIG. 70 illustrate the third embodiment of a guitar pick holder built into the Main Body  10  of the guitar. A piece of Rubber Sponge-like Material  150  is mounted in a cavity beneath the surface of the Main Body  10  of the guitar. After The Guitar Pick  148  slides through the Routed Channel  142  it is held in place by a slit in the Sponge-like material  150 . A Guitar Pick Depth Stop Plate  152  keeps the Guitar Pick  148  from going in too deep. The Depth Stop Plate  152  is attached to the Main Body  10  with the Depth Stop Plate Mounting Screws  154 . This embodiment could also be installed beneath a standard guitar pickguard. 
     FIG. 8 is a rear angled elevational view of the overall shape of the guitar assembly of the present invention showing the placement and basic shape of the Ergonomic Belly Rest  156  upon the rear face of the guitar Main Body  10 . The Belly Rest  156  is mounted to the guitar Main Body  10  with the Belly Rest Mounting Screws  158 . Different Belly Rest  156  shapes and curvatures should be available to suit a variety of body types and tastes. Also pictured for reference are; Legrest  16 , Legrest Locking Mechanism Assembly  29 , Upper Horn  18 , Armrest  100 , Strap Buttons  24 , Support Base  120 , Control Cavity Cover Plate  158 , and Siderest  126 . 
     The invention being thus described, it will be obvious that the same may beg varied in many ways. Such variations are not to be regarded as a departure from the spirit and scope of the invention, and all such modifications as would be obvious to one skilled in the art are intended to be included within the scope of the following claims.