Improvements in Mandolines, Banjos, Guitars, and other like Instruments.
Year: 1899

page_text: Date of Application, 8th Aug., 1899
Complete Specification Left, 25th Apr., 1900 -Accepted, 23rd June, 1900
PROVISIONAL SPECIFICATION.
Improvements in Mandolines, Banjos, Guitars, and other like
Instruments.
LÉON TOUSSAINT HAMAL, Engineer, 4, Rue Sainte Véronique, Liége, Belgium,
do hereby declare the nature of this invention to be as follows:-
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The invention is represented by the attached drawing:
Figure 1 is the top view, and the circular outline indicated by dotted lines
exists only when the frame is made with a bottom rim for fixing regulating
screws and nuts thereto.
Figure 2 is the longitudinal section of the mandoline through a-b, and shows
the best way of attaching the neck and the vellum head to the metal frame,
when this frame has either no back or a moveable back shown also by dotted
lines.
Figure 3 shows on a larger scale the same section when the frame and the
back are cast together in one piece, and the indicated method of adjustment
is equally entirely or partly applicable in the precedent case.
Figure 4 shows one of the brackets used for the double purpose of tightening
the vellum and fixing the moveable backs on the frame."
Figure 5 shows the manner of fastening the strings through the hoop which
presses the vellum.
It will thus be seen that my invention consists in the first place of replacing
the ordinary wood case and sounding board of the actual mandolines, by a vellum
head D stretched tightly on a metall frame which will be fastened directly to
neck A by the means indicated in design, and the length of this neck is regu-
lated so as to form a fingerboard B which gives the same notes as the ordinary
mandoline.
This construction will allow the manufacture of mandoline to be considerably
simplified, and allow them to be manufactured mecanically even by persons
not habitually accustomed to the manufacture of musical instruments, and in
spite of this facility of manufacture will offer the advantage of greater mellow-
ness and strength of tone than is found in the ordinary mandolines in wood.
To this end, the metallic frame C to which the vellum is stretched, is cast
in one piece, either in cast iron, brass, white metal or other metal, in prefer-
ence in a light metal as aluminium, with a series of eyes E on the outside cir-
cumference to hold the tension brackets F used to stretch the vellum on the
frame.
These eyes E, of which the number can be varied in a large proportion, are
as in Figure 3 bored with two concentric holes: the smaller hole to hold the
tension brackets F, the larger hole to make flush the nuts G so that they shall
not project and be in the way of the instrumentalist.
But the frame C may also be made in sheet metal, and the eyes E in this
case can be soldered, or can be replaced as in Figure 2 with a rim which holds
the nuts.
The two eyes E which join the neck of the instrument are united by a rim H

page_text: forming with these two eyes a rest for the foot of the neck; but in the model
with sheet metal frame, the neck will be held simply against the frame and
against the rim which forms the base of same.
The metallic frame C can be made with or without back. In the first case,
the back will be cast plain or with opening for improving the sound, all in
one piece with the frame, or will be adjusted afterwards to the frame so as
to allow the back and the frame to be completely joined, or to allow an opening
between them to facilitate the vibrations of sound.
When the frame has no back or a back adjusted afterwards, the neck can
be casily fixed against the circumference of the frame by means of one or
more ordinary metal wood screws screwed in the neck from the inside of the
frame as indicated in Figure 2. But when the back is cast in one piece with
the frame, the attachment of the neck to the frame will be as indicated in
Figure 3, by means of a bolt of which the shank I traverses the frame C by
two holes diametrically opposed to each other, and is screwed into the foot of
the neck A till the head J of the bolt will become flush with the frame. The
absolute rigidity of the neck will be insured in either case by other metal wood
screws which traverse the rib H or the bottom rim of the frame.
The adjusted backs K can be attached to frame C in various ways. Figure 4
indicates a tension bracket F with nut G which at the same time stretches the
vellum and closes the back firm to the frame. These brackets F are completed
with a surrounding tubulure M which surrounds the nuts between the back K
and the rim or the eyes E of the frame when an interval is desired between
the back and the frame.
The strings P of the mandoline are easily attached to the frame C (Figure 5),
either by drilling in it holes of the desired size symetrically on each side of
the head of the bolt, so as to introduce the strings by the inside of the frame,
or in fixing small knobs Q on its circumference to attach the strings to these
by the outside. But in any case, it is most advisable to drill also small holes
as low as possible in the hoop N which presses the head D. and to let the
strings pass as indicated in Figure 5 through these holes, in order to give them
as much inclination as possible from the rim of the frame towards the bridge L:
that fastening produces a much better tone than when the strings P are simply
turned over the hoop N.
To obtain still greater sonority, the bridge L which holds the strings (Figure 1),
is lengthened so as to occupy the greater part of the vellum, so that its extremi-
ties will come as far as the border of the frame, and transmit to the frame the
vibrations of the strings in a much more forcible manner than when the bridge
is only in the centre of the vellum.
Dated this Third dor of durust Wightaan hundrad and vinotu nino
Improvements in Mandolines, Banjos, Guitars, and other like
Instruments.
LÉON TOUSSAINT HAMAL, Engineer, 4, Rue Sainte Véronique, Liége, Belgium,
do hereby declare the nature of this invention and in what manner the same
is to be performed, to be particularly described and ascertained in and by the
following statement:―
AIM OF THE INVENTION.

page_text: uniting the different particularities of the banjo and of the mandoline or of the
mandola, and which is so constructed as to produce a particular tone quite
different either to the banjo or the mandoline by its strength and beauty.
To arrive at these results, the sounding board is in vellum or skin, and the
frame entirely metallic with a short neck to give the notes of the mandoline
or of the mandola. The adjustment of neck to frame is simplified so as to facili-
tate taking off or putting on quickly. The rim is strengthened inside by a steel
wire, and when provided with a back can be pierced with openings on its
periphery, or a space can be left between the rim and the back to improve the
sound of the instrument. The tension brackets are made so as to strain the skin
or vellum and to hold the back to rim at same time. The bridge occupies the
greater part of the width of the vellum, and the strings are so adjusted to the
frame as to give them the greatest inclination possible to the vellum. In short,
regulating brackets allow the strings to be brought at will closer to the finger-
board, and reunite more intimately the skin or vellum with the back of the
instrument. These different improvements and others that will be found in the
description which follows, can be applied also to banjos, guitars and other
similar instruments.
DESCRIPTION OF SKETCHES.
The new instrument which is thus obtained, is represented by the drawings
left with the Provisional Specification No. 16114 dated 8th August 1899, and
by the second sheet attached to this Complete Specification.
Figure 1 is the top view, and the circular outline indicated by dotted lines
represents a rim which may be left at the bottom of the frame C instead of
the eyes E for fixing regulating screws and nuts thereto.
Figure 2 is the longitudinal section of the instrument through a—b, and
shows how the neck A and the vellum head 1) may be attached to the metallic
frame C when this frame has either no back or a moveable back K shown also
by dotted lines.
Figure 3 shows on a larger scale the same section when the frame C and the
back Kare cast together in one piece, and the indicated method of adjustment
is equally applicable entirely or partly in the precedent case.
Figure 4 shows one of the brackets F used for the double purpose of tighten-
ing the vellum and fixing the moveable backs on the frame.
Figure 5 shows the manner of fastening the strings P by introducing them
through the hoop N which presses the vellum.
Figures & 7 of second sheet are also two longitudinal sections of the frame C:
but in Figure 6 this is with a back K firm as wood or metal, whilst in Figure 7
this back is formed by a skin W as the sounding board. These Figures 6 and 7
show also the best way of adjusting which is best applied in all cases to fix the
neck to frame.
GENERAL DESCRIPTION.
It will thus be seen that my invention consists in the first place of replacing
the ordinary wood case and sounding board of the actual mandolines, mandolas
and other like instruments. by a vellum head D stretched tightly on a metallic
frame which will be fastened directly to neck A by the means indicated in
design. The length of this neck is then regulated so as to form a fingerboard B
which gives the same notes as the ordinary mandoline, mandola, etc. For that
purpose the neck A must be much shorter than those of the instruments known
as banjos, which are made also with vellum sounding board, but have a tone
and are of a construction quite different of my new instrument.
FRAME.
To this end, the frame C. which can be applied also to banios, guitars and

page_text: sounding board D, is entirely metallic, and may be cast in one piece either in
cast iron, brass, white metal or other metal, in preference in a light metal as
aluminium, with a series of eyes E on the outside circumference to hold the
tension brackets F used to stretch the vellum on the frame. These eyes E are
as in Figure 3 bored with two concentric holes: the smaller hole to hold the
tension brackets F, the larger hole to make flush the nuts G so that they shall
not project and be in the way of the instrumentalist. But the frame C may also
be made in sheet metal, and the eyes E in this case are better replaced as in
Figures 2 and 6 by a rim soldered or stamped outwardly at the bottom of the
frame to hold the nuts.
In the cast frames, the two eyes E which join the neck of the instrument
are united by a rim H (Figures 1 & 3) forming with these two eyes a rest for
the foot of the neck; but in the model with sheet metal frames, the neck will
be held simply against the frame and against the rim which forms the base
of same.
The frames in sheet metal are preferable because of their lightness, and are
stamped also on the top (Figures 6 & 7), so as to form at the inside a large
rim which adds to the rigidity of the frame and which prevents the vellum
being cut when stretched with adjusting brackets. But this rim V may become
insufficient to prevent the crushing of the frame under the tension of the strings
when this frame is made of thin sheet metal; in this case it is necessary to
strengthen the frame with a steel wire n fixed inside and running parallel with
the strings.
These metallic frames C can be left open at back, and should then be left
full all round as on sketch Figure 2. But the sound can be considerably
augmented in adding a back K which can be cast in one piece with the frame
(Figure 3) or soldered afterwards as in Figure 6, and in leaving round same
a sufficient number of sound holes R (Figures 6 & 7) which should be so placed
as to be left open when instrument is being played. The most effective are
therefore the two holes R which are found on each side of the neck A and the
one which faces the right shoulder of player.
DETACHABLE BACKS.
The backs K can also be simply adjusted to the frame to enable their being
taken off at will, and in this case they can be made to close hermetically or to
allow an opening between frame and back as in Figure 2, this latter to facilitate
the vibrations of sound.
They can be made either in sheet metal, in wood or other firm material, or
be replaced by a vellum W (Fig. 7) similar to the vellum sounding board on
front. The ears E or the bottom rim of the frame are then replaced also by a
tension hoop X similar to that of head N.
The adjusted backs K can be attached to frame C in various ways. Figure 4
indicates a tension bracket F with nut G which at the same time stretches the
vellum and closes the back firm to the frame.
These brackets F are completed with a raised tubulure M which surrounds
the nuts G between the back K and the bottom rim or the eyes E of the frame
when an interval is desired between back and frame.
But when the back is also in vellum as indicated Figure 7, it is advised to
regulate simultaneously the tension of both vellums D) and W by tension
brackets Y which are adapted to both circles N and X and made in two parts
with right and left hand screw pitch assembled by a nut Z which brings them
closer at will.
NECK.
When the frame has no back or a back adjusted afterwards, the neck A can
be easily fixed against the circumference of the frame (Figure 2) hive moons of

page_text: But when the frame has a soldered or cast back, another method of adjust-
ment must be used which permits the neck to be taken off without disturbing
the vellum from the frame, and to this end it must be fixed entirely outside.
The Figure 3 shows that this result may be obtained by means of a bolt of
which the shank I traverses the frame C by two holes diametrically opposed
to each other, and is screwed into the foot of the neck A till the head J of the
bolt will become flush with the frame. The best way of adjustment consists
however as indicated in Figures 6 and 7 by replacing the bolt I and other
inside adjusting screws by a cylindrical peg in wood m which is united to the
neck and passes through two holes in the frame, diametrically opposed to each
other.
The absolute rigidity of the neck will be insured in either case by one or
two metal wood screws which pierce through the bottom rim H of the frame,
and which contribute with the tension of the strings to hold the neck in its
place.
HEAD RIM, STRINGS ATTACHMENT.
The strings P of the instrument are easily attached to the frame C (Figure 5),
either by drilling in it holes of the desired size symetrically on each side of
the bolt I or of the peg m, so as to introduce the strings by the inside of the
frame, or in fixing small knobs Q on its circumference to attach the strings to
these by the outside (Fig. 5). But in any case, it is most advisable to drill also
small holes as low as possible in the hoop N which presses the head D, and to
let the strings P pass as indicated in Figure 5 through these holes, in order
to give them as much inclination as possible from the rim of the frame towards
the bridge L. That fastening produces a much better tone and is more com-
fortable for the player than when the strings are simply turned over the hoop N.
BRIDGE.
To obtain still greater sonority, the bridge L which holds the strings (Fig. 1)
is lengthened so as to occupy the greater width of the vellum, so that its extremi-
ties will come so far as the border of the frame, and transmit to this frame the
vibrations of the strings in a much more forcible manner than when the bridge
is only in the centre of the vellum.
REGULATING BRACKETS.
Another improvement consists in adding a transversal bar or sheet S (Figure 6)
which rests on the strings behind the bridge L and which is pressed against
them by one or two tension hooks T similar to those of the rim N but piercing
the vellum D and the back K against which their nut U will repose. These
regulating hooks T will allow the strings P to be drawn closer to the key-
board B when necessary, and serve at same time like the sounding-post in a
violin for uniting more effectively the sounding vellum D with the back K of
the instrument, so that thus an influence will be also exercised on the sonority
of the sound.
STATEMENT OF CLAIMS.
Having now particularly described and ascertained the nature of my said
invention, and in what manner the same is to be performed, I declare that what
I claim is:.
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1º) A string instrument resembling a banjo and possessing the particularities
of the mandolines, mandolas and other like instruments, constructed with a
neck easily taken off A which gives the notes of the last named instruments,
and a metallic frame C covered with a vellum sounding board D, with or with-
out sound holes R on its periphery to facilitate the vibrations of sound, and
open at the bottom or covered by a back K which can be made in one piece with
frame or fixed afterwards either hermetically closed or with a resonating space
between the back and the bottom of frame.

page_text: 2°) A special form of this claimed instrument applicable also for banjos or
other similar instruments, and characterized by the metallic frame C which is
provided at its base with eyes E, or with a circular rim to receive the adjusting
brackets F, and which is strengthened inside on the top by the strengthening
barn and by the upper rib V to prevent at same time the vellum splitting.
30) A special form of the instruments claimed above, characterized by the
neck A which is adjusted with frame C by means of a bolt I which traverses
diametrically the frame and is screwed at basis of neck, or better by a simple
cylindrical peg m which traverses also two circular holes diametrically opposed
to each other, and by one or two metal wood screws which hold the bottom
rim of frame, so that there is only these two screws to be taken out and the
strings to be detached from knobs Q to remove the neck from the frame.
4°) In combination with the above claims, the tension brackets F with nut G
to at same time stretch the vellum and attach the back to rim, and eventually
with raised tubulure M to leave a resonating space between frame and back.
5°) In combination with the above claims, the way of fastening the strings P
to the frame C by introducing them through small holes drilled in the hoop N
to increase their inclination over the vellum, and to strengthen thus the
sonorousness of the instrument.
(0) In combination with the same claims, the bridge L reposing on the
entire width of the vellum so as to touch the border of rim of frame.
Dated this Twenty-second day of April Nineteen hundred.
LÉON T. HAMAL,
Engineer, Rue Ste. Véronique 4, in Liége (Belgium).
LÉON T. HAMAL,
Engineer, Rue Ste. Véronique 4, in Liége (Belgium).