On the road - Daniel Annetta
UTS 2020 Honours - On the road - Daniel Annetta
UTS 2020 Honours - On the road - Daniel Annetta
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On the Road:
Travelling With
Guitars
Dissertation by
Daniel Annetta
University of Technology, Sydney
2020
Acknowledgments
The process and construction of this project was
conducted at a difficult time all around the world due
to the corona virus pandemic meaning a lot of work
was done remotely at home via video calls and emails.
I would like to thanks the efforts of Cathy Lockhart
and Gianfranco Lassandro who helped to guide
me through this design and shape the process to
deliver the best possible outcome. Especially at such
a difficult time to always make themselves available
online to answer questions and provide insight when
needed.
I would also like to acknowledge the staff of the UTS
workshop who with their many years of experience
and knowledge provided much advice in the
construction of this project.
Preface
Found within the context of this dissertation are a
series of chapters outlining the work put into this
project throughout the year. Starting with the area
of travel guitars and their current problems they may
cause and issues people having using them. I explore
the possibilities to adapt and improve this design
through a series of research methods. The main
focus is the idea of being able to travel with a full size
electric guitar which can condense in size to fit as
carry on luggage.
Contents
Abstract 1
Chapter 1: Introduction 3
Chapter 2: Literature Review 15
Chapter 3: Research Questions and Hypotheses 31
Chapter 4: Research Methodology 37
Chapter 5: Analysis and Interpretation of Findings 57
Chapter 6 Conclusion 81
Reference List 96
Abstract
To identify a design opportunity this dissertation
explores the history and trends in the development
of the electric guitar. The design intervention derives
from the hassle and risks of flying on planes with
guitars as they can be easily damaged in transit, but
if stored with you on the plane damage is minimised.
This project aims to find a solution for the average
musician on an average income that flies in the
economy class.
It explores the introduction of the travel guitar, a
smaller substitute of the electric guitar, to make
this travel easier. Through the evaluation of this
instruments function and feel the possible design
interventions were identified. To retain the feel of
a full-sized guitar was essential, as was the ability
to store it in an overhead locker when travelling
on an aircraft. The ease of how the instrument was
manipulated between modes was another key element
to consider.
The final design utilises a number of analog
mechanisms to manage and manipulate the guitars
elements, so that when in playing mode has the look
and feel of a standard instrument but when traveling
takes up no greater space than standard cabin
luggage.
1
Chapter 1:
Introduction
3
Introduction
Ever since guitars and guitar like instruments have
existed, musicians have been performing music to
entertain those around them. Thanks to modern
travel and the internet it has become much easier for
musicians to get work interstate and overseas and
travel to these places. But musicians struggle with one
thing when travelling like this and that is transporting
a lot of expensive gear long distances on a flight
where you have limitations to what and how much
luggage you can bring with you. So how are their
problems being dealt with and what are the design
opportunities?
Background and context
Being a musician who has to travel great distances in
order to maintain work and earn enough money has
its challenges. One of the biggest issues is to travel
the world and transport your guitar with you.
To overcome the issues identified a number of travel
guitars have been developed. They use the full scale
neck just like a regular electric guitar however there
are a number of shortfalls in the current design. So
have these travel guitars truly solved the problem for a
travelling musician or have they missed the mark
Chapter 1: Introduction | On the Road: Travelling With Guitars
5
creating merely the illusion that the problem
is solved? This project aims to supply a third
option to the musician who can’t afford to pay
extra baggage fees but needs a full size guitar
to perform for their shows and do not wish to
use a current travel guitar. They do not want to
risk their instrument getting damaged in transit
because they can’t fit it on the plane. This project
looks at offering a guitar which allows for the play,
experience and feel of a full size guitar with the
comfort and compactability of a travel guitar to
create the most seamless travel experience with a
guitar possible.
Problem Statement
To currently get a full size guitar on a plane means
you must pay for extra and oversized baggage. Once
you are on the plane most musicians then spend
the entire flight anxious and nervous hoping your
guitar is in one piece at the other end after going
through all the baggage handling. Current travel
guitars lack the build for performance and lack the
ability for a strong connection with the user. The
problem here is it is hard to travel without peace of
mind not knowing how your guitar might end up at
the end of your journey and knowing a travel guitar
is not up to the standards to perform with in a live
show experience.
Chapter 1: Introduction | On the Road: Travelling With Guitars
6
Statement of Purpose and Research
Questions
The aim of this project is to deliver a well crafted
instrument that has all the same capabilities as a full
size electric guitar and performs just as well. Further
it is also easy to travel with and removes the hassle
of oversized luggage and anxiety over damaged
instruments. The redesigned travel guitar will utilise
similar design cues as a full size guitar to connect with
the user on an emotional, excitable and passionate
level. Is it possible to design a full size guitar in a
way that it can adapt and compact for travel? With
Particular focus on the electronics, the tuning and the
string tension.
Research Approach
There are many limitations that need to be considered
during the design and development of this project
with one key factor being the size allowed for carryon
baggage on planes. To understand musicians
experiences and issues with air travel is key.
Chapter 1: Introduction | On the Road: Travelling With Guitars
7
As well as the travel aspect the function of the guitar
is very important to the success of this product. A
guitar is made up of many components and relies on
accurate placement of elements to ensure strings stay
tuned and sit at the right level. In order to make sure
all these features still work for this travel guitar they
need to be tested and put to the test through a series
of prototypes and models which can help provide the
best possible solutions to each working part of the
guitar. As there are many components to a guitar this
means a lot of testing and retesting of parts to ensure
an instrument will be produced that cannot fail mid
performance.
This research utilises both qualitative and quantitative
research to fully understand the circumstances of the
musician and the requirements of their instrument.
Assumptions
When travelling by air there are particular problems
which may affect travellers in different ways. Whether
it be delays in a flight, extra baggage fees, the long
lines at security or a baby crying the whole time on a
15 hour flight, there are many factors that can cause a
bad flying experience. One of the main issues that a
musician knows about the inconvenience of air
Chapter 1: Introduction | On the Road: Travelling With Guitars
8
travel is the difficulty of travelling with an oversized
and odd shaped instrument, which means extra
baggage fees and the possibility of a broken item at
the other end of your flight.
For a guitarist, they want a few things out of the guitar
that they use. First it must look good. Nobody wants
to go out on stage looking like they are shedding on
a broomstick. Second it has to feel right, the right
shape and the feel of the material has to make it
comfortable and easy to play. And thirdly it has to
sound great. You pay for quality and you expect the
work put into the electronic components and the pick
ups to be the best you can afford.
Chapter 1: Introduction | On the Road: Travelling With Guitars
9
The Researcher
I am a creative and innovative young designer with
a passion for prototyping, 3D Cad modelling and
showcasing extensive knowledge in 3D Printing. As
a graduate from the University of Technology with a
Bachelor of Integrated Product Design, I have been
studying design for over six years but designing things
for as long as I can remember. For over ten years I
have also been studying music and playing multiple
instruments, in particular the guitar. Just like design
where I get to design, sketch and create my own
ideas, music allows me to write, create and perform
music through live shows and music recordings.
These two passions in my life have led me to go down
this path and develop a new style of travel guitar as I
know about the current struggle of travelling with an
instrument. Being able to have extensive knowledge
about the workings and importance of guitar
mechanics and the design background to completely
redesign it allows for an exciting and challenging path
to open new possibilities into the way we travel with
guitars and perform.
Chapter 1: Introduction | On the Road: Travelling With Guitars
10
Rationale and significance
If musicians are unable to travel for work because
it becomes too hard or risky to travel with their
guitar, then this means less work for them and less
income. By travelling with their instruments they are
constantly faced with the issue of extra travel fees,
hassles in check in and risk of damaged goods. Peace
of mind is key to a relaxing journey and knowing
they have the best of both worlds in a guitar that not
only performs well, but looks and feels good and is
compact means you never have to worry about the
hassle ever again. It means you can have access to a
world full of potential job opportunities and not have
to worry about being stuck in one place to perform. It
keeps all the control in the hands of the user and the
guitar never has to leave your side creating a seamless
travel experience.
Chapter 1: Introduction | On the Road: Travelling With Guitars
11
Definitions of key terminology
Full scale length: The distance from the nut of the
guitar all the way to the saddle. Typically around 25.4
inches in length
Electric guitar: A guitar which houses pickups used
to convert string vibrations into sound signals to be
amplified.
Travel guitar: Guitars much smaller than a full size
guitar but still uses a full size scale length.
For the full list of hardware that makes up a guitar and
what they are refer to pages 20 - 22.
Chapter 1: Introduction | On the Road: Travelling With Guitars
12
Chapter 2:
Literature Review
15
History of the Guitar
The first concept of a guitar is said to have been
created during the early 16th century somewhere
in Spain boasting a more narrow and deep body
design compared to modern guitar similar to the
lute. Unlike most guitars today with six strings, this
guitar had 4 with a tuning of C-F-A-D matching
the tuning style of the lute. Over the years slowly
more strings were added with 5 string guitars
being played by 1600 and six by the 18th century.
By 1800 the guitar had 6 strings with the tuning
E-A-D-G-B-E, which is still the standard tuning
for all guitars today (The Editors of Encyclopaedia
Britannica,2019).
By the 19th century the body of the guitar had
changed drastically with it becoming broader and
shallower, with the neck also now being glued
inside a small cavity in the body of the guitar
which gave better stability from the tension of the
strings. During this time Antonio Torres made
major innovations towards the guitar such as its
iconic shape and classic build, later creating what is
known today as the classical guitar (Guitar History
Facts, 2020).
Chapter 2: Literature Review | On the Road: Travelling With Guitars
17
For classical guitars, the electric trend started with
the first electric guitar being produced in 1931 by
Rickenbacker Electro known as the frying pan
guitar seen in Figure 2.1 (Wendkos, 2010) . The
build and style of this guitar resembles some of the
features of a travel guitar today with a small body
shape and single pick up design. In 1941 Les Paul
created the Les Paul Log guitar. Using a block of
wood as the body he mounted two pick-ups onto
it and attached a neck. To give it appeal he took a
current guitar design and sawed the body in half
attaching each half to either side of the block of
wood (Thanki, 2017).
Figure 2.1: Rickenbacker Electro, Frying pan Guitar
Between 1948 and 1954 three styles of guitar were
created which are arguably the three most popular
designs for a guitar to date. With the Fender
company creating their Telecaster and Stratocaster
guitars and Gibson creating their Les Paul guitar.
Fenders designs were seen as a large step forward
in the guitar industry creating a public craze when
they released their guitars (Duffy & Siegle, 2019).
Gibson, determined to match Fender’s success,
hired guitarist Les Paul to consult on their design.
Les Paul designed between 50 and 60 prototypes
before he found his final design (Guitar Master
Class, 2009). Over the years more guitar companies
began to sprout and design new and innovative
guitars. Such as Ibanez developing the 7-string
guitar in the early 90’s and PRS experimenting with
expensive materials to create high end guitars.
Chapter 2: Literature Review | On the Road: Travelling With Guitars
18
Although today Fender and Gibson still hold the
top spots for most popular guitars.
The electric travel guitar was developed in the early
90s by Traveller with companies such as Taylor and
Yamaha designing and selling their own versions
over the years. The travel guitar is a small guitar
that uses a full or nearly full scale neck. Its small
sizes and light weight allows guitarists to bring
them on the go as mainly a means of practicing
while away from home. Traveller Guitar seen in
figure 2.2 is one of the leading manufacturers
in travel guitars boasting a large range of travel
guitars. While their range is quite large they all
display similar features which allow them to be
travel size. Such as no head stock, removed pickup
and cutaway bodies (Traveller Guitars, 2020).
These features are what make it not resemble a full
size guitar. While a company by the name of Ciari
Guitars has tried to address this issue by creating
a full size guitar which folds at the neck to make it
half the size for travel. Released in 2019 the guitar
is a first of its kind using large mechanics in the
body to de-tension the strings and be able to fold
the neck in half (Ciari Guitars, 2019)
Figure 2.2: Traveller Guitar
Chapter 2: Literature Review | On the Road: Travelling With Guitars
19
Break down of a
Guitar
According to Guitarist Source (2008) the average electric guitar is made up of many
components, this includes:
Tuning pegs/Machine heads: Each has one string wrapped around them and are
twisted to adjust the tension of the string to tune the guitar.
Headstock: They vary in shape and size depending on the manufacturer but it is where
the tuning pegs sit.
Truss Rod: The rod sits within the neck of the guitar and is used to slightly bend the
neck by tightening and loosening it.
Nut: The nut has a notch cut into it, one for each string and holds the strings up at the
top end of the neck. Is glued at the top of the fretboard just before the headstock.
Fretboard: This is where your fingers are pressed against to play notes. Usually
fretboards have inlay markings to help identify the fret number.
Fret: A common mistake is that the fret is the space between the metal strips on the
neck but it is actually the strip itself which is the fret. They allow strings to resonate
when played.
Strings: Strings are made from a variety of materials with the lower note strings being
the thickest and higher note strings being thinner.
Pickguard: Pick guards are used to protect the guitar body from being scratched by a
pick or finger nail when striking a string. Usually made from plastic or sometimes metal.
Body: Most electric guitars have a solid body with some also being semi hollow. Bodies
range from different types of wood such as mahogany, maple or ash.
Chapter 2: Literature Review | On the Road: Travelling With Guitars
20
Pick-ups: They sit on the body below the strings and pick-up the signals from string
vibrations turning these vibrations into sound through an amplifier.
Pick-up Switch: Most guitars use a neck pick-up which sits closer to the neck and
a bridge pick up which sits closer to the bridge. The switch allows you to activate one
over the other or both to create different tones.
Volume and Tone Knobs: The volume knob controls the signal output of the
guitars volume and the tone adjust the amount of treble and bass sent out by the pickups.
Cable Jack: Where the cable is plugged into the guitar to connect it to the amplifier.
Saddle: The saddle, like the nut raises the strings so they sit above the body and the
pick ups so as not to cause feedback.
Bridge: The bridge sits just in front of the tailpiece and acts as a platform to sit the
saddles on.
Tailpiece: The bridge is the other endpoint of the strings. The strings are fed through
single holes in the bridge and pulled up over the guitar to the tuning pegs.
Strap Pegs: These allow the guitarist to clip on a guitar strap so the guitar can be hung
around the body when playing standing up.
Chapter 2: Literature Review | On the Road: Travelling With Guitars
21
Figure 2.3: Guitar Diagram
Chapter 2: Literature Review | On the Road: Travelling With Guitars
22
In the winter NAMM convention (Annual
convention showcasing newest music gear) of 2016
Fender decided to add something to their display
to showcase the complexity and work put into the
guitars they built (Mason, 2016). Shown in figure
2.4 is a fender guitar which has been taken apart. It
has then been hung up in a real life exploded view
down to the smallest pieces including all the screws
hung up by hundreds of pieces of strings to get
the look just right. This display helps a viewer to
understand all the components needed to consider
when designing the instrument.
Figure 2.4: Fender Guitar exploded display, NAMM 2016
Chapter 2: Literature Review | On the Road: Travelling With Guitars
23
Mechanisms
“A mechanism is a mechanical device
used to transform or transfer, force, or
energy”(Howell, L 2001 p.1)
This part of the chapter looks into the inner
workings of current mechanisms and how they
could be beneficial to the product. For a design
which requires moving parts and stable connections
it is going to have to rely on well designed
mechanisms that are precise and accurate but also
easy to understand and use.
Mechanisms can be found in almost anything
functional from complex machines such as
aeroplanes and cars, or household items like a
vacuum cleaner and fridge, or even something
as simple as a screwdriver or scissors. Even the
human body itself is made up of many mechanisms
like your hands, feet, neck or jaw with the same
applying to all animals including their tails, wings
or flippers (Sclater, 2011).
Chapter 2: Literature Review | On the Road: Travelling With Guitars
24
Compliant mechanism
Compliant mechanisms (Figure 2.5) transfer force,
although the movement of a compliant mechanism
is gained due to flexible components rather than
movable joints. The advantages of a compliant
mechanism is its reduced cost during manufacture
and its increased performance rate. By having less
joints there is less room for unstable movements
meaning more precision and accuracy. Compliant
mechanisms can be complex to analyze and they
can be difficult to design for and create (Howell,
2001).
Figure 2.5: Compliant Mechanism
Latching mechanisms
An example of a latching mechanism is a simple
grapple mechanism (Figure 2.6) that was designed
at Argonne National Lab. This automatic device
allows itself to engage with a load and lift it to its
destination then releases itself. It does this by
pressing down over a lift knob to lock itself into
place with spring loaded latches. It then picks up
the load and places it in its location. Once there the
grapple pushes further down to lock onto a release
collar. The grapple then pulls this collar up hiding
it in the grapple housing allowing the latches
to slide above the housing and free the grapple
(Sclater, 2011).
Figure 2.6: Grapple Mechanism
Chapter 2: Literature Review | On the Road: Travelling With Guitars
25
Dead Bolt mechanisms
Figure 2.7: Dead Bolt Mechanism
Dead bolt mechanisms are most commonly seen
on doors and are a second means of security to help
keep the door lock and shut (Figure 2.7). Usually
unlock and lock by turning a key, they can also be
shifted by twisting a knob like a door handle. When
unlocking the bolt, usually a cylindrical tube, it is
receded into the door so the door can swing open
freely. But when the door is shut and the door is
locked the bolt pushes out the side of the door and
extends into a hole in the door frame. This then
stops the door from moving, keeping it stable.
(Wikipedia, 2019).
Bayonet Lock
Figure 2.8: Bayonet Locking Mechanism
A bayonet lock or connection is made up using two
cylindrical parts (Figure 2.8). A male connector
which has one or more radial pins and a female
connector which has L-shaped slots to match
the pins. The radial pins insert into the slots
and the connectoors are twited to create a lock
or connection. This mechanism is common in
lightbulb connections and camera lenses. It is usful
for creating tight and accurate fits (Wikipedia,
2020).
Chapter 2: Literature Review | On the Road: Travelling With Guitars
26
Travel
This section explores the restrictions and
possibilities around air travel to understand how a
guitar could be designed to be able to fit on a plane
as carry on. It looks at size and weight restrictions
regarding normals bags as well as the limitations on
musical instruments
Most airlines today whether it be domestic or
international will limit you at 7kg for your carry
on luggage if you are flying in their economy
class while in business class most airlines allow
passengers to carry on up to 14kg. While the overall
size of the baggage depends on who you fly with
the average dimensions of the bag must be about
55cm x 35cm x 23cm with business class being
the same (Figure 2.9). The main reason business
class are allowed a heavier bag but not a bigger
bag is because it still must fit in the overhead
compartment (Gebicki, 2017).
According to the guidelines of major Australian
airlines: for domestic travel instruments may be
brought on as carry on as long as they are under
7kg and do not exceed 85 cm length, 34 cm height
and 23 cm depth. This also means the instrument
replaces the person’s carry on luggage. If the
instrument exceeds this limit it must be checked in
as luggage or an extra set may be purchased for the
instrument. Most airlines consider most guitars to
be above the limitations for a carry-on instrument
and therefore consider checked luggage, however
if lucky some may allow every so often (AUSTA,
2020).
Figure 2.9: Qantas carry on luggage size restrictions
Chapter 2: Literature Review | On the Road: Travelling With Guitars
27
Emotion
This area of the chapter explores emotions and
connections and what provokes and creates these
feelings. In order to design a good product it
needs to connect with the users. For a guitar to be
appealing to its user they need to want to play it
and have a connection that draws them to it. As a
guitarist you not only play the music but you feel
it and you feel it through the expression of your
instrument. By having a connection with the guitar
you are able to make a stronger connection to the
music you play
Some designs are created to become meaningful
through activities and routines. These products
help the user realise the person that they strive to
be, to be their true self and help to discover and
reinvent oneself in a new way (Zimmerman, 2009).
The way a person connects with a product will be
different to the next person but all products can
create emotion and a strong connection with the
product allows the user to want to use the product
more and enjoy it more.
Visceral: Has to do with nature. It is about
receiving emotional signals from the evolving
environment around us.
Behavioral: It is all about how we use the product.
Looks and appeal doesn’t really matter but the most
important thing is its function.
Reflective: Has a large range, created by the
meaning, culture and message of the product.
Products contain multiple reasons, both personal
and social as to why they possess several meanings.
The features of a product can evoke multiple
emotions and depending on the user the emotions
are different due to their past present or future
endeavors (Orth, 2019).
When it comes to emotional design there are 3
levels (Norman, 2004):
Chapter 2: Literature Review | On the Road: Travelling With Guitars
28
12
Chapter 3:
Research
Questions and
Hypotheses
31
Research Question 1
Will the redesign of a travel guitar that still establishes similar design cues as a
traditional guitar connect with the user on an emotional, excitable and passionate
level?
Explanation
Hypothesis
Before picking up and playing a guitar the only
thing we know about it is what it looks like. This
means our first choice when picking a guitar is
based on its looks including shape, colour and
material. In order to build a guitar people want
to play they must be able to connect with the
guitar and feel like they are playing an instrument
as though it is their greatest power. A guitar is a
guitarist’s weapon cause when he walks out on stage
he wants to be holding something not necessarily
big but something mighty. Another example is
when buying shoes. The first thing we do before
even wondering if they are comfortable or not
is judge them on how they look. If it is a sports
shoe though, comfort is important as the more
comfortable they are the better you will perform.
Same with the guitar, the nicer it feels and interacts
with the musician the better they will feel when
playing it.
By designing a travel guitar that cues all features
of a traditional guitar the user will feel more
comfortable and inclined to pick it up and want
to play it. It will give them the weight and feel of
a proper guitar making it more comfortable to
play, allowing their body to interact with it in the
best way possible. By creating something visually
stunning people will assume the quality is much
better than something that is not a full size guitar.
Chapter 3: Research Questions and Hypotheses | On the Road: Travelling With Guitars
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Research Question 2
Is it possible to create a full size guitar which can be adapted to travel size
requirements?
Explanation
Hypothesis
One of the biggest issues guitarist struggle with
when travelling with their guitar is that it is too big
for them to be allowed to bring it on the plane with
them as it falls outside of the size restriction for
carry on luggage. And in the rare chance they are
allowed there is always the struggle finding space
for it in the overhead compartment with other
passengers bags. This means oversize baggage fees
have to be paid and you hope it is handled with
care which is rarely the case. Then you have to get
through the whole flight feeling anxious hoping
the guitar turns out in one piece on the other end.
This is why a travel guitar is handy, it can fit in
your carry on luggage so you know it is safe. Only
problem is this is not a full size proper guitar so it is
not suitable for performance. But if you could have
a guitar which can compact for travel and become
a full size guitar for performance, it means you can
have the best of both worlds. This would allow you
to get through the flight feeling comfortable cause
your guitar is packed with you, but it also means
you have an instrument that is built to perform
on stage and feels like a real instrument to the
musician.
If a guitarist was given the opportunity to travel
with their guitar as carry on they would choose it
everytime. So if a guitar was designed where their
guitar could fit in their carry-on luggage and be
extended to full size with a series of mechanisms
ready to perform with then they would be able to
fly stress free and not have to pay any extra luggage
fee.
Chapter 3: Research Questions and Hypotheses | On the Road: Travelling With Guitars
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Research Question 3
Would the mechanics of a guitar such as tuning, string tension and electronics
still work at their full potential in a collapsible guitar with no compromise to the
hardware?
Explanation
There are a lot of parts that go into building
a guitar so that it visually looks good and
mechanically works very well. Measurements
for certain parts can come down to 1/10th of a
millimetre to ensure accuracy so this means if you
add moving parts you would need to ensure that
the accuracy is still on point every time. Another
point of stress is on the strings of the guitar
which roughly pull 53kg of tension when tuned to
standard tuning. If a guitar were to be collapsable
then this potentially means the shifting of the
strings which could come to a few issues. They
would need to avoid being tangled when loosed
and avoid being bent or stretched too much not to
cause them to snap. Another big issue with a design
like this is surrounded around the neck. The neck
needs to sit at the right angle so the strings sit just
above it. If the strings are too high they become
hard to play and if they are too low they cause a
buzzing noise on the frets.
Hypothesis
To create a travel guitar which collapses to fit for
travel size but expands for performance it will
need new methods of production. But to allow for
the mechanics to work some traditional methods
will be needed to create accuracy in build and
performance. So if you build a travel guitar that
functions just as well as a proper guitar then the
user will be able to play hassle free and feel like
they are playing a true guitar and be able to feel the
accuracy in their playing.
Chapter 3: Research Questions and Hypotheses | On the Road: Travelling With Guitars
35
Chapter 4:
Research
Methodology
37
Introduction and overview
This chapter discusses and reaffirms the purpose of
this project by exploring the possibilities of a guitar
and its limitations in creating a full size guitar as a
travel guitar. It looks at the different design feature
concepts and how they might be possible through
setting an aim and method and then analysing the
results and discussing how these ideas may work or
not and can be explored further for the design.
Ensuring that the research and prototyping is of the
highest quality is of most importance. Yes having
a quantitative amount helps to understand a lot of
different aspects but if the quality is poor then they
will result in bad design decisions which will reflect
poorly on the outcome of the design. Especially in
a design where precision and sound quality are very
important to aid the performance on the guitar.
Research sample
As a professional musician who can afford to fly first
class and not be concerned about their bags has no
Chapter 4: Research Methodology | On the Road: Travelling With Guitars
39
issue transporting their guitars and gear via plane
meaning they don’t have to worry about having a
travel guitar that can fit on the plane. But for the
musician who has to travel for shows in order to
make enough money to stay afloat has to worry
about their own gear and luggage. They have to
sit back in economy class and worry about if their
one guitar they brought has made it through the
flight. That’s why a guitar that is performance ready
that can fit as carry on is perfect for the average
musician that must travel for work as they have the
security of having the guitar with them at all times
Overview of information needed
The basis of information needed for this research
and data collection revolves around the structure
and technique behind the build of a guitar. Just a
few of these things include the scale length of the
neck, the electronics that need to be included, the
amount of tension and stress the strings place on
the neck and dimensions of the body. Knowledge
of relevant information prior to the design is key
to know what needs to be explored for the design
success.
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23
Data collection methods
Inorder to obtain the best research possible from
the best resources, I used a series of research
methods which help to factor the design of the
guitar and concept the ideas to create the best
possible solution. This includes reaching out
to certain musician groups on social media to
ask them questions about their preferences and
experiences. As well as creating several sketches
and prototypes to test ideas and understand how
certain components and mechanisms could work.
Ethical consideration
The most important ethical consideration to be
reflected on when designing the guitar is focused
around travel especially on planes. The design must
be safe and legal to be allowed to be brought on a
plane with no hassle and cause no harm to any one
or be seen as a threat.
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Methods and Data
Collection 1
Research question and hypothesis
Method
Will the redesign of a travel guitar that still
establishes similar design cues as a traditional
guitar connect with the user on an emotional,
excitable and passionate level?
If the guitar feels and looks like a full size guitar
then it will allow the user to feel more comfortable
playing it and connect with the guitar on a more
passionate level allowing them to play better.
To be able to find a large group of guitarists to
ask them questions I took to social media where I
could easily collate information and feedback they
gave me. I ask them one simple question to help
understand how to better develop my design:
What is the biggest thing that draws you to a
guitar? The thing that makes you wanna play it
more than the others at first glance. For example it
could be the body shape, colour, the pick ups used,
the feel of the wood or something else.
Aim
The main purpose of this research area is to
understand what makes a user have a connection
with their guitar. To understand what features are
most important to the user and what they look for
when buying a guitar.
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Result
To my question I had thirteen responses from guitarists all around the world. A few answers similar to
each other but a lot of different answers revolving around different areas. One of the answers which would
relate to my design area was “I like guitars that are unique. They have something special about them even
if it’s just one small thing.” Although he was alone in his answer it was one of the comments that stood out
the most to me.
The graph shows the main aspect stated of importance in each answer and how it compares to other parts
of the guitar.
Figure 4.1: Pie chart of guitar appealing features
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Discussion
As mentioned previously, the response that stood
out the most was the guy who said the uniqueness
of the guitar was something he liked which I was
not expecting. Just because a guitar is unique
doesn’t mean it is actually good or nice to play. But
the answer that clearly stood out as the thing that
attracts most people to a guitar is the shape. The
shape is a very visual thing and it is what people
will see who watch you play so you obviously want
something that looks good on stage and makes
you feel great playing. The responses which were
second and third most important were revolved
around the sound quality of the guitar and the way
it feels when playing which is another key factor
in allowing the user to feel comfortable and play
well when using the guitar. But overall all things
mentioned here are important to the design of the
guitar to allow the user to have a proper connection
to it when playing.
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Methods and Data
Collection 2.1
Research question and hypothesis
Method
Is it possible to create a full scale and full size guitar
which can be adapted to travel size requirements?
If a guitar can be designed where it can be
compressed to travel size and be fitted as carry-on
luggage but extended to full size for performing,
the musician would feel more comfortable and
relieved when travelling with the guitar.
Once again I took to social media to be able to ask
my questions to a large group of people around the
world. This time though instead of focusing on just
guitarists I extended it to musicians in general. The
exact question I asked them was:
What is the biggest frustration when travelling on
aeroplanes with your instrument? And if you could
mention what instrument you travel with.
Aim
The aim was to understand the frustrations and
issues musicians have when travelling with their
musical gear on flights.
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Result
I had a few responses to this question I asked with 3 main topic areas observed. They included the issue
with paying for extra oversized luggage, instruments getting damaged in transit and trouble fitting
instruments on the plane.
Below shows the comparison of responses in those 3 categories.
Figure 4.2: Pie chart of biggest frustration travelling with
instrument on planes
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Discussion
My biggest surprise was from a person who plays
violin stated “the check in people are fine, then
the cabin crew say ‘no you can’t put that in the
overhead’ even though it fits fine. This made me
think why wouldn’t they allow this when a violin
is well within the size limits of carry on. Perhaps
it was because it didn’t look like regular luggage
and they didn’t like the idea of putting something
irregular in comparison in the overhead. Another
big issue is damage items with many people saying
they flew feeling anxious that they will get to the
other end with damaged items from handling.
Stating they would feel more comfortable being
able to take their instruments on the plane with
them but size is always the issue.
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Methods and Data
Collection 2.2
Research question and hypothesis
Method
Is it possible to create a full scale and full size guitar
which can be adapted to travel size requirements?
If a guitar can be designed where it can be
compressed to travel size to be fitted as carry-on
luggage but extended to full size for performing the
musician would feel more comfortable and relieved
when travelling with the guitar.
To start this process I began by taking apart a full
size guitar seen in figure 4.3, gutting the electronics
and keeping the body and neck. These 2 parts are
the main components that make up the size of the
guitar and are what will affect its sizes for travel.
I then tried to establish how the neck when taken
off the body could be packed with the body to fit
within the boundaries of a carry on bag.
Aim
To test how small a full size guitar can be
condensed to see if it can fit as travel on luggage.
And to see if it can be easily put back together for
use as a full size guitar.
Figure 4.3: Gutted guitar bodies and necks
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Result
The neck and body sit well together when the neck is placed behind the body (Figure 4.4) minimising
the amount of space the whole guitar takes up From the image below you can see how when the neck sits
behind the body it still allows the string to stay suspended and with some tension to not become loose and
tangled.
Figure 4.4: Testing minimal space needed for transport
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Discussion
From this test I came to the conclusion that
the longest part of a guitar is the neck with the
headstock which is actually too long to fit as carry
on. The problem here is the neck must remain
the size it is to stay full scale, although the size of
the head stock can change as long as it fits all six
tuning pegs comfortably. This means my test using
a regular full size guitar did not fit due to it being
slightly longer, but with some slight modification
to the headstock the whole guitar would be able to
fit within a bag suited for carry on. (Figures 4.5)
Figure 4.5: Render showcasing how guitar sits for travel
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Methods and Data
Collection 3
Research question and hypothesis
Method
Would the mechanics of a guitar such as tuning,
string tension and electronics still work at their full
potential in a collapsible guitar with no damage to
the hardware?
By building a travel guitar that will function just
as well as a full size guitar then it will rely on an
accurate and well polished build to allow the
guitarist to play hassle free with a guitar that feels
right and stays in tune.
This involved a series of prototypes and tests to
understand how certain mechanics might perform
and affect the guitar and quality of the guitar. The
first problem space to hurdle was establishing how
the strings might stay untangled and strung while
the guitar collapses. The second problem space is
how the neck of the guitar might connect swiftly
and easily to the body. This was done once again
with various prototypes (Figure 4.6) to test the
strength of the connections to enable the neck to
not warp and the strings stay taught and in tune.
Aim
To test the lengths at which a guitar can come apart
for travel and still be easily put back together and
function just as well as a full size guitar. Meaning
it stays in tune, the strings are tight and the nek
doesn’t warp.
Figure 4.6: 3D printed locking mechnisms
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Result
By developing a tailpiece which sits behind the body it allows the strings to move as the neck moves. This
means the strings still stay taught and in line as the neck slides under the body and means they move back
into place as the neck bolts back into position. So far for this basic prototype the movement is a bit stiff
and trouble some but can be improved upon. The neck then securing into place is still in the works as
some 3D printed prototypes were developed. These locking mechanisms worked very well, being quite
strong and needed to be investigated further. (Figure 4.7)
Figure 4.7: 3D printed prototypes developed for neck lock and
sliding tail piece
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Discussion
As stated above the tests were quite successful
but still have quite some work needed to be done.
Smooth transitions between collapsed and full size
need to be looked at further and multiple ideas
need to be investigated into how the neck will lock
into place. The tested locking mechanism will
work but may need a secondary lock such as a key
bolt lock to maintain strength and security in the
neck joint. With figure 4.8 and 4.9 displaying some
renders of the mechanisms that were successful in
their tests.
Figure 4.8: Renders of concept mechanisms
Figure 4.9: Renders of mechnisms within guitar
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Chapter Summary
To sum up this chapter there is still a lot of work
to be done in terms of prototyping and testing
mechanisms. The overall understanding of how
the guitar will come apart and go back together is
there and how the mechanism should work, they
just need to be fine tuned to specifically work in the
right scenario.
The design is heading in the right direction with a
plausible end result. The sliding tail piece is very
possible and I don’t see any issues surrounding that.
The only struggle at the moment is finding the best
solution to firmly secure the neck in place while
still also being able to easily take it apart. Once
this barrier is overcome then it is only a matter of
putting it all together to be able to develop the final
product.
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Chapter 5:
Analysis and
Interpretation of
Findings
57
Introduction and Overview
This chapter refines the requirements of
this project through the design brief and the
development of key features. It explores four of
these key features which are vital to the production
and success of this project including: Mechanisms,
Aesthetics and Emotional connections, Existing
Components and Ergonomics. The design brief
links together the literature, research questions,
research methods and prototypes to support the
reasoning for current choices and decisions and
provide direction for the prototypes to be explored
further to enhance the product.
The rationale allows a claim to be made and a
defined statement which sets the outlines for the
project guidelines. These are a set of directions one
must follow to propose the end project is within the
specifications that make it a good product and that
it does what it was designed to do. These guidelines
are there to ensure the success of the end product.
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Design Brief
Mechanisms
The mechanism utilised in the instrument needs to
allow the volume to be reconfigured or condensed
to make it work. The reconfiguring should not
compromise the playability of the instrument.
Various configurations and mechanisms have been
explored through a series of prototype testing seen
on pp 49 - 51. This exploration is in alignment with
Research Question 2 which asks “Is it possible to
create a full scale and full size guitar which can be
adapted to travel size requirements?”. Claiming
the benefits of 3D printing and its use towards the
innovation of the electric guitar, Marano (2019)
produces claims that allow for more complex guitar
building. This means more advanced designs,
opportunities and forms are not possible to be
made by hand with more intricate parts to improve
the overall quality of the instrument.
To ensure the instrument stays rigid and in tune
the precision of these parts needs to be considered
and with the help of 3D printing this allows for the
production of high quality parts with a high level of
accuracy. Through testing 3D printed mechanisms,
a redesigned bayonet type lock has shown
possibility for adaptation as a locking mechanism
for the neck, replacing the existing 4 screws.
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Design Guidelines
• The Guitar must reconfigure or condense to a
size that fits within airline carry-on limits for
most economy class seats: 55cm x 35cm x 23cm,
7kg.
• The mechanism which joins the neck to the
body needs to be made from strong material
such as steel to ensure strength and precision.
• The mechanisms have limited space to work as
the guitar must appear normal on the outside
but the workings of the mechanisms still
function behind the scenes.
• Prototypes are needed to evaluate the precise
tolerance required to create a secure and tight
fit between the body and neck to ensure the
guitar stays in tune while playing and the
neck does not shift. Playability must not be
compromised.
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Aesthetics and Emotional
Connection
The appearance and appeal of this instrument is
key to engaging the musician and allowing them
to have a connection with the guitar and making
them feel comfortable and emotionally connected.
Research Question 1 asks “Will the redesign of
a travel guitar that still maintains similar design
cues as a traditional guitar connect with the user
on an emotional, excitable and passionate level?”.
This means how can a travel guitar be made to
feel like a full-size guitar to allow the user to not
only play comfortably but feel connected with
the instrument. This is evidenced through the
surveying on pp 43 - 45, which asks the question,
what are the things that draw you to a guitar
visually.
Zimmerman (2009) also states that designs
become meaningful through activities, so the
guitar itself might not have a feature which
evokes emotion but the feel of playing it is
what allows it to create meaning.
The visual aesthetic elements are key to the success
of the design. However not everyone is drawn
to the same thing, as suggested by Orth (2019)
products can evoke several emotions depending
on the user’s past experiences. It is hard to please
everyone aesthetically especially with one design
but by developing a guitar which feels right and
perfect in the user’s hands will allow them create a
connection which makes it nice to play.
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Design Guidelines
• The shape of the guitar needs to reflect design
cues and features of current electric guitars to
give users that sense of familiarity and assurance
with the instrument.
• The guitar needs to feel nice while playing
with a smooth wood finish neck and body to
help evoke that positive emotion through the
playing of the guitar.
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Existing Components
There are a number of core components from
existing electric guitars that will be utilised in this
design. This includes the electronics, the tuning,
the string tension and stringing. Explored through
Research Question 3 “Would the mechanics of a
guitar such as tuning, string tension and electronics
still work at their full potential in a collapsible
guitar with no damage to the hardware?”. A travel
guitar needs to feel like a standard electric guitar
and it needs to function in the same way in terms of
standard guitar mechanics.
For the latest innovation behind guitar technology
Powers (2019) claims there are new ways in
designing guitars which does not affect the overall
integrity of the instrument. Meaning the user can
still feel comfortable playing this innovative guitar
knowing all the key features remain easy to use
and operate just as well. Testing these capabilities
which can be seen on pp 52 - 54 show how the
use of a few mechanisms mentioned by Sclater
(2011) can be used to allow this innovative travel
guitar to condense and expand to full size without
compromising the key elements of an electric
guitar. By seeing how small the head of the guitar
can be without affecting the function of the six
tuners allows the guitar to become smaller in size
and fit into the restrictions of travel.
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Design Guidelines
• The guitar has a full scale neck to ensure it is as
similar to a standard electric guitar as possible.
• The tuners must sit on the head of the guitar
atop the neck just like any standard electric
guitar to give that familiarity to the users and
the ease of tuning and stringing.
• It must include the electrics that make an
electric guitar ‘electric’ such as pick ups, volume
and tone knob, pick up switch and input jack.
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Ergonomics
The ergonomics of this guitar revolve around three
main points. How they interact when setting up for
example tuning and stringing, how they interact
when activating the mechanisms that allow the
guitar to condense and expand, and how the user
interacts when playing. This pulls together all three
research questions and most of the prototyping
and research conducted. The shape of the body and
neck and a feature which can draw in a user to want
to play it and create that emotional connection, but
it also is strategically shaped to allow for cut outs in
certain spots to allow the guitar to feel comfortable
when played.
The hands being one of these mechanisms
needs to perform simple tasks such as turn,
pull, push or press to interact with another
simple mechanism within the guitar to allow
the inner workings to easily flow and create a
seamless transition between scenarios.
The requirements of the mechanism depend
on the interaction meaning the testing of
handles helps to determine the right amount
of force needed to operate such mechanisms.
The smooth round surface of the neck allows the
palm of the hand to slide up and down to create
a flow when playing. Again questions 2 and 3 talk
about the innovative mechanisms required in
the development of this guitar and the current
mechanics used and how they would be affected by
this new design. All these features must be easy to
access and easy to operate. Sclater (2011) talks about
how the human body itself is its own mechanisms
made up of many smaller mechanisms.
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Design Guidelines
• The shape of the body of the guitar needs to
support good player posture and comfort.
• The body shape should not compromise normal
play including notes higher on the fretboard.
• The mechanisms also need to be safe to interact
with and easy to operate with an understanding
of the force required to secure the locking
mechanism for the neck.
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Development of key
Features
Mechanisms
There are two key mechanisms which have been
evolved throughout the design and development
of this product to ensure the best functionality
and performance. The first mechanism focuses
around the neck and how it attaches to the body.
Traditionally the neck is held in place with 4
long screws enabling the neck to remain stiff in
place and not cause the guitar to go out of tune
easily. To be able to replicate this secure fit with
a locking mechanism which can easily be locked
and unlocked to detach the neck required much
research into materials and locks.
Figure 5.1: Bayonet Lock machined from aluminium
Understanding which lock could reciprocate
the same effects as the four screws but not be so
permanent. After first developing and researching
bolt locks that could potentially pierce through
the neck and body to hold it in place, I came to the
conclusion this type of mechanism was good but
not suitable for that airtight fit.
Stepping away from the idea of a bolt lock I focused
back on the idea of screwing the neck to the body
like in a standard guitar design. This idea led to the
research of bayonet locks particularly in camera
lenses. The locking mechanism used here known as
a bayonet lock is precisely machined to ensure that
the fit is air tight, a perfect solution to locking the
neck to the body (Figure 5.1).
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Seen in figure 5.2 is how the neck appears to the
relative to the body when tightened and loosened.
Since the neck is able to detach to allow the guitar
to shrink in size this means the strings become
loose and will flail around. Now to allow for a
seamless design it is beneficial and time saving to
be able to keep the strings attached when the guitar
is collapsed for travel so it can be readily assembled
when it comes time for use. If the strings are able
to move with the neck this would allow them to
stay somewhat taught and aligned and easily put
back into position when the neck is locked onto the
body.
On any standard guitar the strings are secured in
two places. At one end they are wound around
the machine head so they can be tightened and
loosened for tuning and on the other end they
are fixed in place sitting through the tail piece. A
similar mechanism already exists which allows the
tail piece to move allowing the strings of the guitar
to move. After researching this design I have tried
to reengineer the design so the tail piece in my
design pulls in the opposite way and uses a much
simpler design to keep the guitar in tune when the
strings become taught.
Figure 5.2: Tightening and loosening bayonet lock
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Seen in figure 5.3 is the tailpiece under tension
when the guitar is being played and on the right
when it is released when the neck detaches. To help
the tailpiece retract and keep the strings slightly
taught a spiral spring (Figure 5.4) is hidden within
the body of the guitar and is kept under pressure
attaching to the tailpiece via a piece of string which
winds up like a tape measure.
Figure 5.3: Tailpiece under tension (left) and released from
tension (right)
Figure 5.4: Spiral spring housing
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Aesthetics and Emotional
Connection
The aesthetics and emotional connection towards
the instrument comes down to the feel and look of
the guitar as well as the experience it creates with
the user. Firstly, while the look of the guitar can
evoke an emotion in the guitarist it is hard to create
positive emotions with everyone with a single style
of guitar. So these features focus more on creating
that aesthetic appeal. The idea that it looks good
and feels good so it must function well. To design a
guitar that could suit most styles and be appealing
to most musicians can be seen as a difficult task as
guitarists can be picky about their instrument. But
by researching many designs and brands and the
benefits of the body shapes, I was able to see what
people find most appealing about the guitar taking
these components and incorporating them into my
design.
In figure 5.5 we see different views of the guitar
body and the physical features it has to draw the
user to it. This includes the cut aways around where
the neck meets the body, the routed edges to give
the body a slimmer and lighter look, and the slight
indented curves on the back of the body to give a
similar effect.
Similar to what was mentioned before but it is hard
to create a single guitar which connects with most
of the market, which is why companies tend to
produce some guitars of the same model but just in
different colours to please the consumer. However
with this product the aim is to first draw the user to
the guitar with its aesthetic features and then get
them to create their own emotional connection to
the guitar through an experience. By having a travel
guitar that is so well designed the guitarist should
be able to have almost no negative experiences
when playing or travelling with it helping to create
that strong connection to the guitar.
This experience all comes down to the functionality
of the instrument which links back to the
mechanisms and how they work. If they function
effortlessly and allow the guitarist to have smooth
transitions between travel mode and playing
mode it will create a positive experience. And if
the guitar stays in tune while playing meaning the
mechanisms are holding everything in place it will
once again create an overall positive experience
allowing the user to have a deeper emotional
connection with the guitar remembering how well
it functioned at the shows they played.
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Figure 5.5: Aesthetic features of the body
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Existing components
The development of existing components isn’t so
much a development but an assurance. This section
refers to other existing components such as the
machine heads, pick ups and other electronics and
the bridge. These components are not redesigned
or they are slightly modified to create the assurance
needed so that these parts will still function
properly in this new style of travel guitar. For the
electronics, the focus came down to whether a hole
would be routed out in the front of the guitar or the
rear. Both ways are common in electric guitars.
For this design, the only option was to route the
hole on the front, as the back has already been
routed out to make room for the rails which the tail
piece moves along. Figure 5.6 shows an example
of what this wiring might look like however to add
to the aesthetic side of the guitar and cover all the
wiring a pick guard is placed on top.
Figure 5.6: Electronics and components of curent electric
guitar
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Figure 5.7: Guitar bridge with V shape saddles
As for the saddle there is not much change for
its location on the body. All it can do is sit in line
with the neck and tail piece to ensure it holds up
the strings and they run straight up the neck. The
only issue that surrounded this was that the strings
would constantly be moving and sliding back and
forth across the bridge. Now most bridges have 6
saddles on them with little grooves for them to sit
in seen in figure 5.7. However constant movement
along these grooves could cause the strings to
wear away quickly and possibly snap. Once again
no redesign of this part was needed but an extra
attachment was added to stop string becoming
loose when guitar retracts (figure 5.8) The bridge
chosen for this guitar uses saddles with round
grooves which rotate cause less fiction on the
strings
Figure 5.8: Guitar Bridge with roller saddles and extra
attachment
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Ergonomics
The development of the ergonomics of the
guitar were crucial as the guitarist interacts with
the instrument in many different ways and since
the musician is interacting with the guitar, that
means the guitar is interacting with the user. The
instrument needs to feel right and fit against the
body and movements of the guitarist. But this
doesn’t just include how the guitar interacts with
the user when playing, but also when they are
setting up the guitar for example tuning and when
they have to access the mechanisms to allow the
guitar to condense and expand in size.
Firstly how the shape of the guitar body fits to
the body of the user was key to the designing the
overall shape. Most electric guitar designs have
cutaways on the back of the body so it sits well
under the chest and isn’t digging into the rib cage.
These cutaways can be seen in my design in figure
5.9. However I have noticed in some current
designs these cutaways are too short meaning they
are not as effective, which is why as part of my
development I extended the size. Other cutaway
designs which can be seen on guitar bodies are
around the neck. These allow the user to fit their
hand more comfortably when playing higher up the
fretboard.
Figure 5.9: Cutaways in guitar body
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Depending on the style of music you play these
features may not be so important to you compared
to others. But to allow this design to be used by
a larger audience I have included cutaways both
above and below the neck seen in figure 5.10.
Figure 5.10: Cutaways near neck for playing comfort
Figure 5.11: Magnets within body to hold on back plate
When stringing the guitar I had to make sure that
it would be easy access to the tailpiece where the
strings are fed through. This section is covered by a
plate to stop any interference with the mechanism.
Most plates on the back of the guitar are there to
cover electronics and are held in place with screws.
Since changing strings is a regular occurance and
a task which might be needed in a last minute
situation I decided to hold the back plate on using
magnets instead of screws (Figure 5.11). This way
the plate is still secure but allows the user easy
access to the tail piece when they need to change
strings. On the other end of the strings they are
attached to the machine heads.
To ensure the guitar is small enough when compact,
the head of the guitar in this design is actually
smaller than a normal guitar head. This means the
space to fit the machine heads has shrunk causing
them to have to be placed closer together. The only
issue here is when winding the machine heads to
tune the guitar the others can get in the way making
it uncomfortable to use especially for someone who
might have bigger hands.
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Focusing on this the development of the shape of
the head became very important. Creating such a
shape would allow the machine heads to be placed
closer together but staggered to give extra room
where needed.
The final interaction and ergonomic features
revolve around the user and how they operate the
mechanisms, in particular the bayonet lock which
holds the neck in place. This locking system is
quite small in its area but needs a bit of force to
create that tight joint lock and unlock. So far the
development to do this task is based around using
a separate tool which when placed within one of
the parts of the bayonet lock is then twisted. This
tool uses a long handle which is easy to grip and
maneuver. The long handle means less force is
required by the user to twist the lock making the
task as a whole a lot easier especially if it were to be
operated by a child or someone with less strength in
their hands. This tool seen in figure 5.12 is simple to
understand and use however further development
of this tool could be done to possibly make the
tool part of the lock. Potentially have some sort of
handle that pops out of the lock allowing you to
turn in then returns flush when the lock is set in
place.
Figure 5.12: Current tool used to tighten and lock bayonet
mechanism
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Chapter summary
In conclusion most developments have been tested
and trialed to showcase the four main design
elements of this project: mechanisms, aesthetics
and emotion, current components and ergonomics.
Most have been developed to their full potential
finding the best possible solution for the situation
while some are just a few steps away from success
to allow everything to fall into place and create a
seamless design that not only functions well but
looks the part.
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Chapter 6:
Conclusion
81
Overview
From exploring the history of guitars to the trends
that follow its development through time this
musical instrument has been redesigned in more
ways than one and developed through the ages
to suit the era and style of music being played.
The development of the travel guitar which has
been researched exploring its impact on the music
industry since its creation. The problem though
it creates is that it is not a full size electric guitar,
due to it being made as travel size. And if you try
to bring a full size guitar with you, you only create
more problems for yourself having to pay extra
baggage fees for airlines, the stress of whether it
will make it to the other end in one piece and the
uncomfortability of having to carry extra oversized
bags.
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1: Will the redesign of a travel guitar that still
establishes similar design cues as a traditional
guitar connect with the user on an emotional,
excitable and passionate level?
By using current and new designs is it possible to
have a full sized guitar as a travel guitar. Could you
possibly use new methods of building the guitar
which allow it to be compact or to fold or to come
apart for travel but then be easily assembled to be
played as a full size electric guitar. This then posed
3 questions:
2: Is it possible to create a full size guitar which can
be adapted to travel size requirements?
3: Would the mechanics of a guitar such as tuning,
string tension and electronics still work at their
full potential in a collapsible guitar with no
compromise to the hardware?
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These questions explore the possibility of
designing and creating a guitar that not only
functions well on stage but acts and feels like a
full size guitar. The intent being able to create
that connection with the user so they feel like they
are playing a proper guitar and are comfortable
and used to the size as it matches most sizes for
standard electric guitars. It also allows them to
easily pack up the guitar to travel size so they can
safely bring it with them as carry on luggage.
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Final Design
The final development of this project creates
the experience of using a proper full size electric
guitar and condenses in volume to make it suitable
for travel. Through a series of well developed
mechanisms itsmoothly transitions between states
with the best quality in function, performance
and comfortability. As shown in figure 6.1 and 6.2
this travel guitar has 2 forms, one where it is easily
condensed for travel and the other where the neck
is simply attached to allow the user to play a full
size electric guitar. This design incorporates all
it features well to create a seamless and friendly
experience for the user.
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Figure 6.1 Final Design in travel mode render
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87
Figure 6.2 Final Prototype in playing mode
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Design Features
Bayonet lock system
Figure 6.3: Bayonet Locking System
This locking system allows users to easily attach
and detach the neck from the body by simply
twisting the male side located within the neck
cavity of the body. This model uses an external tool
to achieve this as the lock is made from aluminium.
However for a final product the mechanism would
be cnc machined from a stainless steel with a built
in handle to lock and unlock it.
Sliding tail piece
Figure 6.4: Sliding tail piece
The sliding tailpiece functions under the tension
of a spiral spring hidden within the body of the
guitar. When the guitar is at full size the tail piece
pulls against the spring causing tension with the
only thing stopping the tail piece from retracting
is the strings. Once the neck is released the strings
loose tension allowing the spring to pull back
the tailpiece pulling the strings with it retracting
the neck towards the body making the volume of
the entire instrument smaller. The system which
the tailpiece slides on is a drylin n linear bearing
system.
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Magnetic back plate
The back plate sits on the back of the guitar
covering and protecting the sliding tailpiece
mechanism. Most guitar back plates are held on
using screws as they cover the electronics. Since
this plate covers access to one end of the strings it
is simply held on using magnets. Meaning if a string
were to snap in an emergency the user would have
easy access to be able to change the strings quickly.
Figure 6.5: Magnetic back plate
Locking tuners
Locking tuners are one of the existing components
used on this travel guitar however they are not
regularly used on most guitars. Locking tuners
clamp down on the strings when they are winded
up for tuning. This means when the neck is released
and the strings loose some tension the strings do
not become loose around the tuner. The tuning
heads used on this design are grover locking tuners.
Figure 6.6: Locking Tuners
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Small Headstock
Figure 6.7: Small Headstock
Compared to a standard electric guitar the size
of this headstock is substantially smaller. This all
comes down the fitting within the size requirements
of airline travel. The neck with the headstock is the
longest part of the guitar so it is the one element
most affecting the length of the overall design. A
reduced headstock allows the guitar to fit within
these size requirements when it is condensed for
travel.
String roller
A simple feature yet crucial to the success of this
design. The roller is placed within a cavity behind
the bridge, allowing the strings coming from
the underside of the guitar to wrap around the
direction up the neck and towards the headstock. It
also helps to keep the strings from getting tangled
when retracting and extending. For this design this
piece has been 3D printed using a nylon filament
but would be machine cut from aluminium.
Figure 6.8: String Roller
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Frame work
Understanding elements
This can be mainly done through the research
phase of the design process. Once the problem
statement has been addressed and the design intent
stated there are then many aspects to follow and
explore. These elements which are researched
throughout the literature review help to later
design and develop the prototype. This can also
set out limitations one must follow or are forced to
adapt their design to suit.
Understanding User Values
Common techniques to gather valued results from
users is through user observations, interviews
and surveys. By basing questionnaires around
the current topic you can understand what are
the most popular opinions of the users. Through
observations you can then also understand how
users react in certain environments and with certain
objects without giving a bias input.
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Prototype design
Sketching can be important here to help visualise
the ideas circulating in the mind and get them on
to paper. This allows you to compare concepts and
see what parts you like and don’t like. By having
these ideas sketched out it also allows you to then
share these designs with others so they understand
exactly what you are designing. This can also then
help to have them give their input and possibly add
to the idea.
Prototype testing
When it comes time to build physical objects of
the ideas you have sketched it is important to test
these prototypes as it is easier to develop an idea on
paper than a three dimensional object. Especially
when developing a product that might use many
complex mechanisms or moving parts. It is crucial
to ensure these parts will work how you have
envisioned them and if they need to be changed.
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Evaluation
The evaluation of your prototypes is key to
developing the best possible final solution. This
could start with user testing and having people
in your specific user group interact with the
prototypes created and see what reaction they
have. What they like, what they don’t and what
they think could be added.Take all these critics
into consideration for the development of the final
design and solution.
Prototype Development
All the research gathered, user observations,
concepting, prototyping and user testing leads to
finding the suitable solution for the design. Every
input gathered from these phases allows you to
focus on each individual part that makes up the
product and make them as perfect as possible to
bring them all together to create the final product.
This final solution is of high quality and represents
what the product might be like if in production.
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Significance
While the innovation of this design can change the
way musicians travel with their guitars it also offers
multiple pathways in the world of music and travel.
Yes it does allow guitarist to travel the world with a
guitar that packs at half the size while performing
as a full size guitar. Giving them comfort in travel
and reducing baggage and fees. It then opens the
possibility for current guitar companies who stay
away from travel guitars to develop their signature
guitars as travel guitars without causing much
change to their branding and look.
Such technology could possibly be adapted to other
string instruments which are oversized such as bass
guitars, banjos, cellos and double basses. Although
the build of these guitars are quite different from
each other the possibilities are there and could be
adapted to fit each individual instrument.
Not only saving space for the user but also the
manufacturer since the guitars can be packaged
at a smaller size. This means saving money on
packaging as well as being able to fit more units in
each individual shipment.
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Conclusion
The current issue of travelling with electric guitars
is that they are oversized and do not fit as carry
on luggage. Current solutions such as the travel
guitar lack the autenticity and appeal of a full size
guitar, and not being ideal for stage performance,
feeling small and missing key components. The
idea to be able to travel once again with a full size
electric guitar that can be compacted for travel has
evolved through many phases. Being tested and
trial, observed and evaluated, the best features have
come forward to give the best outcome.
design is, some state the maximum length must not
exceed 55cm. But as mentioned in the liturature
review the guitar fits within the guidelines of
AUSTA by having an instrument that does not
excede 85cm in length for it to be carry on with
Australian airlines
This design incorporates all the features a full size
electric guitar needs. It looks and feels standard to
and electric guitar and presents no real significant
differance when in use. It then offers the guitarist
the ability to easily compact it down to fit as carry
on and travel with ease. Some of the smaller details
that go into this design are the biggest features
which really make it shine and help it become the
best possible solution to the curret issues stated.
The total length of the guitar when in its case is
65cm and weight is 5.8 kg. While some airlines
state the total dimensions of length, width and
heigh for carry on must be under 115cm which this
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