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fossesitar

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Reply with quote  #1 
Link below to photos that show the new reverse taraf tuning system on the 2012 Ultra.
The system consists of two parts:

1. Machine tuners (12) below the tabli plate, mounted to the back of the "through-body" neck, and

2. Two holes for each taraf on top of the carbon fiber neck plate - a smaller one 3/4" below the larger 1/4" hole. The taraf stringtip is fed into the smaller hole, going under the carbon fiber neck plate, and extracted (using needle-nose pliers) from the 1/4" hole. Once the entire string is pulled through the brass ball-end rests firmly against the neck plate. The taraf string is then pulled back, doubling over itself and passing over the ball-end on its way to the taraf bridge. The brass ball-end serves as string termination, or a "mini-bridge" for the taraf string, replacing the plastic button on all acoustic sitars. This allows use of standard .010 ball-end electric guitar strings (available anywhere in the world) for all 12 taraf on the Ultra. Several other new pix of the Ultra are also on this link:

http://www.facebook.com/media/set/?set=a.10150877228670690.433366.176188250689&type=1
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AllenDS

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Quote:
Originally Posted by "fossesitar"
...passing over the ball-end on its way to the taraf bridge. The brass ball-end serves as string termination, or a "mini-bridge" for the taraf string...
Hi Gregg,

I admit that I only glanced at your photos when you first posted them, so I didn't fully understand what you were talking about. But after taking the time to understand your system, I'm impressed by the simplicity and effectiveness of your string layout. Kudos!

-Allen

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fossesitar

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Thanks Allen. Yes the system is simplicity itself. So much so that one wonders "Why didn't I think of this 2 years ago?". I have been beating my brains out for 9 years to come up with a simple, effective, and clean sounding taraf termination that does not require gluing stuff to the neck plate (garunteed to cause appearance issues). The reason I have posted this here in a public forum relates to patents.

When I started out 9 years ago to develop this beast, at one time I held 4 provisional patents (these need to be "perfected" within one year of filing the provisional). Eventually I let them all expire because I came to realize A PATENT IS ONLY WORTH THE MONEY YOU ARE WILLING TO SPEND TO DEFEND IT !! This is a small, niche market, patents can cost upwards of $8,000 each and then when there is an infraction (as no doubt there will be) you have to hire an attorney to sue for redress.

Furthermore, you may be forced (at outrageous expense) to file patents in each and every country you wish to have protection in, and this must be done within one year of filing in the USA. So to defend a patent - let alone a group of patents - can easily cost in the 100s of thousands of dollars. And then there will STILL be those copying your work - perhaps altering it JUST ENOUGH that their attorney feels they can beat you in an infringement lawsuit.

Altogether NOT what I got in the sitar business for !! So I post my designs in a public forum and from the date when I post publicly, nobody ELSE (in any country) can patent my work and block me from building or selling my design in their country or elsewhere in the world. Anyone who wants to copy my designs is free to do so and I fully intend to be far ahead of them by the time they can be in production (with new designs, features, or enhancements). Further, there are TRADE SECRETS in the way the Ultra is made that shall remain just that - secret. If anyone attempts to copy my Ultra it will take them 2 years and $100,000 to learn what I already know. of that I am certain because that is what it cost me over the last 9 years. Hope I am not boring my fellow forumites with this patent discussion but this is the first thing everybody asks me: "have you applied for patents??" GF
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Sitarfixer

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Reply with quote  #4 
On my last trip up to visit Gregg and do my bit on these instruments, I was blown away with this little feature. It is indeed the epitomy of brilliant simplicity. Amazing also is that nobody thought of this years ago. The system works flawlessly. Solid string contact is achieved with every string leaving the neck at exactly the same height. The brass barrel ends will, of course, never split. Superb engineering ! Yeah, Gregg !!
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