2 string knots. Double Fisherman’s Knot: A Comprehensive Guide to Joining Two Ropes

How to tie a Double Fisherman’s Knot. What are the advantages of using this knot for rock climbing. Which other knots can be used to join two ropes. Why is proper knot tying crucial for climber safety.

The Importance of Proper Rope Joining Techniques in Rock Climbing

Joining two ropes is a critical skill for rock climbers, particularly when setting up a full-length retrievable abseil. The choice of knot can significantly impact safety, ease of use, and the success of the climbing expedition. While opinions vary among climbers regarding the best knot for this purpose, three commonly used methods stand out: the figure eight, the overhand, and the double fisherman’s knot.

Each of these knots has its own set of advantages and potential drawbacks, making it essential for climbers to understand the nuances of each technique. By mastering these knots, climbers can ensure they’re prepared for various scenarios they may encounter on the rock face.

The Double Fisherman’s Knot: A Reliable Choice for Rope Joining

The double fisherman’s knot, also known as a grapevine knot, is a popular choice among climbers for joining two ropes. This knot is formed by tying two interlocking stopper knots, resulting in a strong and secure connection.

Steps to Tie a Double Fisherman’s Knot:

1. Create a stopper knot at the end of one rope by forming two loops, the second behind the first, and feeding the tail back through both.
2. Before tightening the knot, pass the end of the second rope through both loops.
3. Form another stopper knot with the second rope, wrapping the loops around the first rope.
4. Tighten both knots and draw them snug against each other.
5. Ensure there is plenty of tail left on both ends to account for any potential slippage.

Are double fisherman’s knots difficult to untie after being weighted? Yes, these knots can be challenging to undo once they’ve been subjected to a load. This is an important consideration for climbers who may need to quickly adjust or remove the knot in certain situations.

Advantages and Disadvantages of the Double Fisherman’s Knot

Understanding the pros and cons of the double fisherman’s knot is crucial for climbers to make informed decisions about when to use this technique.

Advantages:

• Creates a smaller profile knot compared to the figure eight method
• Reduces the chance of ropes getting stuck during retrieval
• Provides a strong and secure connection between ropes
• Ideal for creating loops in accessory cord for friction knots like the Prusik

Disadvantages:

• Can be difficult to untie after being weighted
• Requires careful attention to detail when tying, especially in challenging conditions
• May not be the best choice for quick bail-out situations

Is the double fisherman’s knot suitable for all climbing situations? While it’s a reliable knot, it may not be the best choice in scenarios where speed is critical or when climbers anticipate needing to quickly adjust the rope setup.

Alternative Knots for Joining Two Ropes

While the double fisherman’s knot is a popular choice, climbers should be familiar with other knots that can be used to join ropes. Two notable alternatives are the figure eight knot and the overhand knot.

The Figure Eight Knot

The figure eight knot is another common method for joining two ropes. It’s often preferred by climbers who value ease of untying and visual reassurance.

Steps to Tie a Rethreaded Figure Eight Knot:

1. Tie a figure eight knot in the end of one rope.
2. Thread the end of the second rope through the figure eight, following the path of the first rope.
3. Leave ample tail on both ends to account for potential slippage during tightening.
4. For added security, consider adding stopper knots to each tail end.

Does the figure eight knot have any drawbacks? Yes, one notable disadvantage is its bulky profile, which can increase the risk of the knot getting stuck when pulling down abseil ropes.

The Overhand Knot

The overhand knot is the simplest and fastest method for joining two ropes. It’s particularly useful in situations where speed is crucial for safety.

Characteristics of the Overhand Knot:

• Quick and easy to tie
• Least likely to get stuck when pulling ropes
• Requires very long tails for safety
• Can be visually unsettling for some climbers due to its simplicity

Why might climbers choose the overhand knot despite its simple appearance? In scenarios where rapid descent is necessary, the overhand knot’s speed of tying and low likelihood of getting stuck can be crucial advantages.

Safety Considerations When Joining Ropes

Regardless of the knot chosen, safety should always be the primary concern when joining ropes for climbing or abseiling. Several key factors should be considered to ensure the security of the rope connection.

Essential Safety Tips:

• Always leave ample tail length on both sides of the knot
• Double-check knot tightness and configuration before use
• Be aware of potential knot slippage under load
• Consider adding backup knots for additional security
• Practice knot tying in a safe environment before using in the field

Can improper knot tying lead to serious accidents? Absolutely. The consequences of a mistake when joining ropes for abseiling can be severe, potentially resulting in equipment failure and falls.

The Role of Environmental Factors in Knot Selection

The choice of knot for joining ropes isn’t solely based on personal preference or theoretical strength. Environmental factors play a significant role in determining the most suitable knot for a given situation.

Environmental Considerations:

• Weather conditions (rain, snow, extreme temperatures)
• Rock type and texture
• Visibility (daylight vs. low-light conditions)
• Time constraints and urgency of the situation

How do wet conditions affect knot choice and tying? Wet ropes can be more challenging to manipulate and may require knots that are easier to tie and check visually, such as the figure eight or overhand knot.

Developing Proficiency in Rope Joining Techniques

Mastering the art of joining ropes is a crucial skill for any serious climber. It requires not only knowledge of various knots but also the ability to assess situations and make quick, informed decisions.

Tips for Improving Rope Joining Skills:

• Practice tying knots regularly, even when not climbing
• Learn from experienced climbers and seek their guidance
• Attend climbing workshops or courses focused on rope techniques
• Experiment with different knots in controlled, safe environments
• Stay updated on new research and recommendations in climbing safety

Is it sufficient to learn rope joining techniques solely from written instructions or videos? While these resources can be helpful, hands-on instruction from experienced climbers is invaluable for developing proper technique and understanding the nuances of each knot.

The Impact of Knot Choice on Climbing Efficiency and Safety

The knot used to join ropes can have far-reaching effects on a climbing expedition, influencing everything from the speed of descent to the likelihood of successful rope retrieval. Understanding these impacts can help climbers make more informed decisions in the field.

Factors Affected by Knot Choice:

• Speed of tying and untying
• Ease of rope retrieval after abseiling
• Knot profile and potential for snagging
• Confidence level of the climbing team
• Adaptability to changing conditions or emergency situations

How does knot choice affect the mental state of climbers? The confidence a climber has in their chosen knot can significantly impact their focus and decision-making abilities during challenging climbs or descents.

Balancing Efficiency and Security

While speed and efficiency are important considerations, they should never come at the expense of safety. Climbers must strike a balance between choosing knots that are quick to tie and those that provide the highest level of security for the given situation.

Is there a single “best” knot for all situations? No, the ideal knot depends on various factors including the specific climbing scenario, environmental conditions, and the experience level of the climbers involved.

Adapting Rope Joining Techniques to Different Climbing Disciplines

Different types of climbing may require different approaches to joining ropes. Sport climbing, traditional climbing, alpine climbing, and big wall climbing each present unique challenges and considerations when it comes to rope management.

Rope Joining Considerations for Various Climbing Styles:

• Sport Climbing: Quick, efficient knots for occasional rope joining
• Traditional Climbing: Emphasis on versatile knots that can be tied and untied easily with cold or tired hands
• Alpine Climbing: Focus on knots that perform well in extreme weather conditions and can be manipulated while wearing gloves
• Big Wall Climbing: Preference for knots that create minimal bulk and are less likely to snag during long hauls

How do the rope joining needs differ between single-pitch and multi-pitch climbing? Multi-pitch climbing often requires more frequent rope joining and may benefit from knots that are easier to inspect and adjust mid-climb.

The Future of Rope Joining Techniques in Climbing

As climbing technology and techniques continue to evolve, so too do the methods for joining ropes. Staying informed about new developments in this area can help climbers enhance their safety and efficiency on the rock.

Emerging Trends in Rope Joining:

• Development of new synthetic materials affecting knot performance
• Research into knot behavior under dynamic loads
• Integration of technology for knot verification and monitoring
• Standardization efforts in climbing education and certification

Will technological advancements ever replace the need for manual knot tying skills? While technology may provide new tools and safeguards, the fundamental skill of knot tying is likely to remain a crucial component of climbing safety for the foreseeable future.

Conclusion: Mastering the Art of Rope Joining

The ability to effectively join two ropes is a fundamental skill for any climber, with far-reaching implications for safety, efficiency, and overall climbing success. While the double fisherman’s knot offers a reliable and versatile option, climbers should be proficient in multiple knot-tying techniques to adapt to various situations they may encounter.

By understanding the strengths and weaknesses of different knots, considering environmental factors, and continually honing their skills, climbers can ensure they’re prepared for the diverse challenges of rock climbing. Remember, the key to mastering rope joining lies not just in knowing how to tie knots, but in developing the judgment to choose the right knot for each unique situation.

As the climbing community continues to grow and evolve, the importance of proper rope management techniques remains constant. Whether you’re a novice climber or a seasoned veteran, investing time in perfecting your knot-tying skills is an investment in your safety and the safety of your climbing partners. Stay curious, keep practicing, and always prioritize safety in your climbing adventures.

Rock Climbing Tech Tips: Joining Two Ropes

Joining Two
Ropes

This is a touchy subject. Opinions vary
among climbers as to the best knot to use when joining two ropes together.
The figure eight, overhand, & double fishersman’s are just three
methods. There’s many reasons why you’d want to join two ropes together, but
perhaps the most obvious one is to allow for a full rope length retrievable
abseil.

Rethreaded Figure Eight   
There is more than one way of joining two ropes using a figure eight knot.
The method described below is purely the one I prefer. One disadvantage of
this method is that it leaves a bulky profile to the knot which could well get stuck when
you pull the abseil ropes down. If speed and stuck ropes is a concern, perhaps investigate the
double
fisherman’s
method or the overhand knot (see below). The
advantage of the figure eight with stopper knots over the double
fisherman’s is that it’s often easier to untie afterwards, plus what I’d
call a psychological advantage. Anyway, follow these steps to join two ropes with
a figure eight knot:




Step 1: Put a figure eight in the end of one rope. Step 2 & 3:
Rethread the
eight with the end of the other rope. Leave plenty of tail (probably more
than pictured), because the
knot will slip a bit as it is tightened.


Step 4: Because I’m paranoid
about the figure eight slipping I generally add a stopper knot
to each end
as well. The figure eight with stopper knots is my preferred method,
however as I say, opinions vary.

Note: Avoid
using the “Abnormal Figure Eight” (pictured left), which Bush Walkers Wilderness
Rescue’s research shows to
be dangerous. They state: “The Abnormal Figure 8 Knot
is dangerous due to roll back slippage. It is possible that this knot when
poorly packed and with short tails could completely
undo with loads as low as 50kgs”. See Also: Abseil
Knots on Needle Sports, and this accident
report on rec.climbing or
R&I, in which such a knot may have killed a climber.

Double Fisherman’s   
Here’s another way to join two ropes, the double fisherman’s (pictured
below). This method results in a smaller profile knot (should give less
chance of stuck ropes) than the aforementioned figure eight method. Its
basically just two stopper knots. Follow these steps:



Step 1: Put a stopper knot in the end of
one rope. The trick with stopper knots is to form two loops, the second
behind the first, and feed the tail back through both. Step 2:
Before you tighten the knot, pass the end of the other rope through both
loops as shown.


Step 3: Now form another stopper knot, this time with the
second rope, wrapping your loops around the first line.


Steps 4 & 5: Tighten both knots and draw them snug against
each other. Leave plenty of tail (probably more than pictured), to account
for any slippage.

It’s hard to
describe in words. Be very sure you’ve got it right before abseiling down.
I strongly suggest you get someone experienced to teach you this knot, in
person, so they can verify you’ve got it right. The consequences of a
mistake, when using this knot to join two ropes for abseil, are naturally
going to be very serious indeed. Furthermore, its easy to stuff this up, especially if
its cold, dark and wet and you’re looking to bail in a hurry, so perhaps
this is not the best method to employ, though it certainly works if done
correctly. The knot can also be difficult to undo once you’ve weighted it.

Above
Right: The double fisherman’s used to join the ends of some accessory
cord to form a loop, suitable for friction knots such as the Prusik,
etc.

Overhand Knot   
The
overhand knot is probably the simplest and fastest knot you can form to
join two ropes together for abseil. This can be very handy in situations
where speed is critical to safety. It’s also generally believed to be the
least likely knot to get stuck when the ropes are pulled. But how scary
does it look? Even with the recommended super long tails, the knot can take some
getting used to. 

The theory with this
knot is that it will slide flat against the rock and flip over an edge
rather than jamming. (See picture right, and check out Petzl’s
page explaining the concept).  

Follow
these steps to form an overhand knot to join two ropes:


Step 1: Grab an end of each rope and form the simple pass shown
above. Step 2: Pull tight, leaving a large amount of tail (ie.
about a metre) for both ends, to account
for any slippage. It shouldn’t slip too greatly if the ropes are of the same
diameter, but this is not something to skimp on. You should probably leave
more tail than the pictures above imply.

Note
comments such as “The Overhand Knot should not be used
on tape due to progressive cyclic slippage.” and “There may be
an issue with the strength of the Overhand Knot when used on older rope.”,
appear in research articles
from the Bush Walkers Wilderness Rescue.

Reader’s Feedback   


From Kieran Loughran:

1. If you are doing a multi-abseil retreat using two ropes of equal diameter
then the overhand knot is more secure than an figure-8

2. Use a double-fisherman knot to join ropes of unequal diameter for
multi-abseil descents.

3. If you are using two ropes as a fixed line, first join them with a
double-fisherman knot and then tie an alpine butterfly knot that
incorporates the double-fisherman knot in the loop. That gives you three
things 1. A bomb-proof knot; 2. A built-in safety loop to clip on the knot
changeover; 3. Knots that are easy to untie (unless you had to weight the
safety loop, in which case you won’t care).

Further Reading:
Preferred Knots For Use In
Canyons – Documents actual testing of Tape, Double Fisherman’s,
Overhand for rope and tape, Rethreaded Figure 8, Abnormal Figure 8 and
Alpine Butterfly from Bush Walkers Wilderness Rescue web site.
Abseil
Knots – Further testing and warnings against the abnormal figure eight
knot on Needle Sports site.
Double Fisherman’s
– From University of New England Mountaineering Club.
Overhand knot
– From Petzl’s web site.

Figure Eight With A Loop – Also from Petzl’s web site.
Dawn’s
FAQ – For rec.climbing discussions and arguments about the best knot to
use when joining two ropes for an abseil.
How
To Deal With Stuck Ropes – From Climbing Magazines Tech Tips.
Rope And Gear
Testing – Results of pull tests on various knots joining different
ropes.
EDELRID Knot Tests
– Results of testing double fisherman’s, and EDK, etc. Unfortunately much
of the text is in German.

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How to Tie Knots: Tying Different Types of Knots with Illustrations

Spend any time in Scouts, camping outdoors, or boating? From square knots to bowline, learn how to tie knots in rope, including illustrations of the most useful knots.

These knots will often come in handy outdoors. Better to know a knot just in case you need it!

Tying Knots: Words to Know

Before you get started learning this handy skill, it helps to know some of the basic knot vocabulary.

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• The bight is any part of a rope between the ends or the curved section of a rope in a knot.
• A bight becomes a loop when two parts of a rope cross.
• The place at which two parts of a rope meet in a loop is the crossing point.
• The place at which two or more loops bend is the elbow.
• The working end of a rope is the end being used to make a knot.
• The standing end (or standing part) of a rope is the end not involved in making a knot.

8 Useful Knots to Know

The knot illustrations below may seem a bit intimidating at first, but once you know the vocabulary and practice a few times, we’re sure you’ll be able to get it! Note: Illustrations by Lars Poyansky.

1. Square Knot

A square knot is a quick and simple way to join two ropes together. However, it’s for light use, not heavy use, such as tying scarves, package parcels, and so forth. The rope will not hold under heavy strain.

Watch video to see how to tie the Square Knot:

2. A Half Hitch

A hitch is used to tie a rope around an object (such as a tree) and back to itself. It’s for a quick temporary use, not long-term.

3. Two Half Hitches

This knot is also used to secure an object to trees, loops, or poles. Once tied, the knot formed by two half-hitches can move along the rope, allowing the loop to become larger or smaller. However, this hitch also isn’t for heavy loads.

Watch this video to see how to tie Two Half Hitches:

4. Taut-Line Hitch

Somewhat similar to two half hitches, the taut-line hitch is also an adjustable loop-knot hitch that can be tied around bars or poles. However, the loop formed using a taut-line hitch will not slip if put under tension. A common use might be setting up a hammock or securing a load to a car to easily adjust the binding’s tightness.
 

Watch this video to see how to tie a Taut-Line Hitch:

5. Sheet Bend

Like a square knot, a sheet bend joins two ropes. However, in this case, the knot can be used for heavy loads and won’t slip under heavy tension. In addition, it’s reliable when joining two ropes of different thickness, size, or material. A sheet bend could be used to attach two lines together to make a longer line or for securing a critical load in a vehicle. There’s also a Double Sheet Bend which takes an extra coil around the standing loop for better security (especially with plastic rope)

Watch this video to see how to tie the Sheet Bend Knot:

6. Bowline

When you need a non-slip loop at the end of a line, you go with a classic bowline. This fixed knot won’t slip, regardless of the load applied. It is also easy to untie. Bowlines are secure and used when you need to pull or rescue someone, or tie a line around yourself and a tree or other object.

Watch this video to see how to tie the common Bowline:

7. Clove Hitch

Easy to tie and untie, the Clove Hitch is a good binding knot when you’re in a rush. They’re great for a temporary hold, e.g., attach a rope to a post or a linen to a mooring buoy. When you tighten this knot, you must pull both ends lengthwise or it won’t be secure.

Watch this video to see how to tie a Clove Hitch:

8. Timber Hitch

If you spend a lot of time outdoors, the Timber Hitch is a simple knot for hauling a log or bunches of branches as well as hauling away large objects. It’s easy to tie and remove but will come apart if tension is not maintained in the rope. Make three loops minimum to ensure a more secure hold.

Watch this video to see how to tie a Timber Hitch:

See more tips and tools to enjoy in the outdoors!

Stringed musical instruments

Category: Musical instruments

In the class of acoustic instruments, strings are the most widely used. This is due to the demand for them from all consumer groups. Their use is universal: in the concert hall (in ensembles and solo), for home music-making and in field conditions.

The leading role in the assortment of string instruments belongs to plucked instruments, which is explained by their small weight and dimensions, satisfactory sound range, expressive timbre, high level of reliability and maintainability.

Plucked instruments are distinguished by the number of strings, the sound range, the intervals between the sounds of open strings, the shape of the body, the exterior finish, the design of the main components.

Plucked instruments include: guitars, balalaikas, domras, mandolins, various national instruments (psaltery, banduras, cymbals, etc.).

The harp is also a plucked instrument, a very complex multi-stringed instrument designed for large symphony orchestras. They are released in limited quantities.

The guitar is the most popular plucked instrument. There are the following types of guitars: Spanish, Russian, Hawaiian. The Spanish (South European) six-string guitar is considered classical. By the number of strings, guitars are: twelve-, six-, seven-string. The most widespread are seven- and six-string.

Depending on the length of the working part of the string (mensur), the following types of guitars are distinguished: large (concert), normal (men’s), reduced sizes – tertz (ladies’), quart and fifth (school). Downsized guitars are named for the interval they sound higher than normal guitars. In table. the length of the scale of the above types of guitars is given.

Seven-string guitar (Russian) has a sound range from З ¹ /4 to
З1/ ₂ octaves from the D of the big octave to the la of the second octave. The six-string guitar has a range from E of the big octave to A-sharp of the second octave.

Hawaiian guitars have very limited use, mainly for concert activities. They have a melodious, vibrating sound. Range – 3 / ₂ octaves.

The guitar consists of the following main components: body with shells, tongs, soundboard, bottom, springs, bridge, covers, neck and peg mechanics.

The body is designed to amplify the sound vibrations of the strings.

It is shaped
figure eight and consists of a flat top (1) and a slightly convex bottom deck – the bottom (2). The decks are interconnected by two right and left shells (9), the ends of which are attached from the inside to the upper (6) and lower (7) tongs. Counter-shells (8) are glued to the shells, creating the necessary area for gluing the decks. Shells, counter-shells and tongs form the body frame. To the inner surface of the decks, in their middle part, springs (17) are glued – bars of various sections, which serve to create the necessary resistance to string tension and uniform propagation of sound vibrations.

The sound hole (15) of the guitar is round, somewhat larger than other plucked instruments. Below the resonator hole (socket), a support (12) is fixedly glued, which has holes and buttons for fixing the strings (19).

The neck is the most important knot; the convenience of the game depends on how correctly its width, thickness and profile of the oval are chosen. The neck of the guitar (4) is wide, its lower thickened part is called the heel. A hole is drilled in the heel for the connecting screw. At the top of the neck is a wooden or bone nut (11) with slots for the strings. The saddle is located on the stand (12) for the strings. The distance between the nut and saddle is called the scale of the guitar. The headstock has a mechanism with pegs (21) to secure the strings.

The neck of the guitar, like all plucked instruments, is divided into parts – frets with fret plates cut into it from brass or nickel boron
wire.

The division of the neck into beats must be accurate. Fret breaking is based on the principle of changing the length of the working part of the string. The length of each fret should be such that, shortening the length of the string by this amount, the pitch would change each time by half a step, i.e., the breakdown of the frets is based on obtaining a twelve-step equal temperament system. Fret spacing accuracy is one of the most important indicators of the quality of instruments; violation of the fretboard splitting rule makes it impossible to tune the instrument and play it.

Guitars are available in regular, premium and premium quality. They differ in the materials used and the quality of the finish.

The body of the guitar is made of birch or beech plywood, the neck is made of hardwood – maple, beech, birch; fretboard – pear, ebony, beech; sills – from hornbeam, plastic, bone; stand – made of beech, maple, walnut, plastic; arrow – from beech, birch, maple; strings – steel, bass – are wrapped with a cantle. Large guitars use nylon strings.

Balalaika is an old Russian instrument with a sharp, piercing timbre, used for solo performance and playing in stringed orchestras. Balalaikas are produced in two varieties: three-stringed prima, four-stringed (with the first paired string), six-stringed (with all paired strings) and orchestral three-stringed – second, viola, bass, double bass, differing in scale length:

♦ prima – with a scale length of 435 mm;

♦ second – 475 mm scale length;

♦ alt – with a scale length of 535 mm;

♦ bass – 760mm;

♦ double bass – 1100 mm.

Balalaika prima – the most common, common, used as a solo and orchestral instrument. It has significant musical and technical capabilities.

Balalaikas second, viola, bass and double bass are used in orchestras and are called orchestral instruments. The second and viola are mainly accompanying instruments.

All types of balalaikas are in quarters.

Balalaikas from prima to double bass make up the balalaika family. Sound range from 1 ³ / ₄ to 2 ¹ / _– octaves.

Balalaikas, like mandolins, domras, have many parts and units of the same name with guitars.

Balalaika consists of body, neck and head. The body of the balalaika is triangular in shape, the bottom is slightly convex, ribbed, made up of separate rivet plates. The number of rivets can be from five to ten (12, 13, 14). The rivets in the upper part of the body are attached to the upper collar (5) and connected
with a neck.

Family of orchestral balalaikas

From below, the rivets are glued to the back (10), which is, as it were, the base of the instrument. Seagulls (7) are glued along the perimeter, giving the body rigidity. A resonant deck (8) is placed on the contra-beam, consisting of several specially selected resonant spruce boards. In custom instruments, a tuned deck is used, that is, a deck that sounds in a certain tone. The deck has the shape of an isosceles triangle, the base of which is straight, and the sides are somewhat curved. A resonator hole-rosette is cut out in the soundboard, having an ornament in the form of a circle or a polyhedron made of mother-of-pearl, plastic, valuable wood. On the right side, the deck is covered with a shell (18), which protects it from damage. Small strips-springs (6) are glued to the inside of the deck, giving it elasticity and increasing the purity of the sound. Below outlet (19) a movable stand is installed on the soundboard, which transmits the vibrations of the strings to the soundboard. The stand determines the height of the strings above the fingerboard and limits the working length of the strings. The connection between the soundboard and the body is covered with a lining. On the edge of the deck in the lower part of the body is
saddle (11). The glued neck is integral With the body, it has the same function as the guitar neck,

the headstock (1) with the peg mechanism (25) is attached to the neck. The peg mechanism has worm gears for tensioning and tuning the strings (22). Along the entire neck, at a certain distance from one another, small transverse metal plates are cut, protruding above the neck and dividing it into frets (23).

Sounds are extracted by plucking with fingers, less often by striking. mediator. The mediator is a special flat oval plate, it is made of plastic or tortoise shell. Tortoiseshell picks are considered the best.

According to the exterior finish and materials used, balalaikas are produced in ordinary and high quality.

The body staves of balalaikas are made of hard hardwood – maple, birch, beech. Sometimes they are made pressed from wood fiber pulp.

The back is made of spruce, lined with birch or beech veneer; deku – from straight-grained, well-dried resonant spruce; stand on the deck – beech or maple. Corners are made from stained maple and birch veneer; dumplings – from spruce. On the shell is stained birch, maple veneer or pear.

The neck is made of hard woods – maple, beech, hornbeam, birch; fretboard – stained maple, hornbeam, pear or ebony; dots on the neck – made of plastic or mother-of-pearl; fret plates – made of brass or nickel silver; nut and nut – from hornbeam, ebony, plastic, metal and bone; strings are steel. For low-pitched instruments, the strings are wrapped with copper wire; vein and synthetic strings are also used.

Balalaikas of special and individual production differ from the usual orchestral musical instrument in terms of sound strength and timbre features, external finishing of details and selection of wood species.

Domra is a Russian folk instrument, unlike the balalaika, it has a less sharp and softer and more melodious timbre.

Domras produce three-string fourths and four-strings fifths. Domra sound range from 2/ ₂
up to Z1/ ₂ oct.

Depending on the size, a family of domra is made, the length of the scales of which is presented in table.

Domra is used for solo playing and in string orchestras.

Characteristics of the domra family are given in Table.

Domra, like the balalaika, consists of a body and neck, tightly connected.

Domra differs from the balalaika in its rounded “pumpkin” body. It consists of seven to nine bent rivets, the ends of which are attached to the upper and lower collars, a deck with a rosette, a shell, counter-beams, springs, and a movable stand.

The neck of the domra is longer than that of the balalaika; at the domra they put three or four strings, fixed with the help of a string holder. Domra is made from the same materials as balalaikas.

According to the quality of the finish and the materials used, domras are distinguished between ordinary and high quality.

Mandolin is a popular folk instrument: together with guitars, mandolins make up the Neapolitan orchestra; it has a bright and melodious timbre. Mandolins are produced oval, semi-oval and flat. The different construction of the body of the instruments gives them a specific timbre of sound.

The body of the flat mandolin consists of a shell, upper and lower tongs, deck, bottom, springs, pointer. The parts are made from the same materials and have the same purpose as similar guitar body parts.

The body of a semi-oval mandolin consists of a slightly convex bottom (glued from 5-7 staves or bent plywood), shells, counter-ribs, upper and lower tongs, arrow, soundboard, spring, lining, tailpiece. It is made from the same materials as the parts of the guitar.

Pear-shaped oval mandolin. Consists of rivets (from 15 to 30), cleats, counter-strings, springs, side, trim and string holder; barrels of extreme, wider staves; figured shield, soundboard, which at a distance of 3-4 mm below the stand has a break, necessary to increase the pressure of the strings on the soundboard.

The neck is usually integral with the body, but can also be detachable.

The head of the mandolin has eight pegs (four on each side). The purpose and name of the parts are the same as the parts of the guitar. When extracting sounds, a mediator is used.

Oval mandolins have a nasal tone. Semi-oval sounds more bright with a less pronounced nasal tint. Flat mandolins sound more open and harsh. In table. given, the main data of the above mandolins

The mandolin family is produced: piccolo, alto (mandola), lute, bass and double bass.

Mandolin sound range 3 ¹ / ₃ octaves.

According to the quality of the finish and the materials used, mandolins are distinguished between ordinary and high quality.

Harp – a multi-stringed instrument (46 strings), is part of the symphony orchestra and many instrumental ensembles; in addition, it is often used as a solo and accompanying instrument.

The harp is a triangular frame with strings stretched between its two sides. The underside of the frame, to which the strings are attached, is shaped like a hollow box that serves as a resonator. The body of the harp is usually richly decorated with carvings, ornaments and gilding.

The harp is tuned in a major scale. The restructuring of the scale to other keys is carried out by switching the pedals located at the base of the harp. To guide the musician when playing, the C and F strings in all octaves are colored red and blue.

The range of the harp must be 6/ ₂ octaves, ranging from D-flat contra-octave to G-sharp fourth octave.

Limited production of harps.

Banjo is the national instrument of American Negroes, which has recently gained popularity in variety ensembles of our country.

The banjo consists of an annular body-hoop, tightened on one side
skin that serves as a deck. For adjusting deck tension and tuning
use special screws. The neck and head of the instrument are conventional. steel strings,
play them as a mediator. The number of strings and their tuning may be different.
depending on the size and type of banjo. The appearance of the banjo is presented on

Spare parts and accessories

Spare parts and accessories for plucked instruments are: strings for each instrument (single or in sets), peg mechanism, string holders, stands, picks (plectrums), cases and covers.

Parts and accessories for stringed musical instruments – all patents of category

Category

Sub-categories

• G10D3/02 – resonant devices, horns and membranes
• G10D3/04 – mutes (dampers), bass beams, capotastas
• G10D3/06 – necks
• G10D3/08 – in the form of keyboards (keyboards of musical instruments G10C 3/12)
• G10D3/10 – strings
• G10D3/12 – tailpieces, e. g. bridges (fillies)
• G10D3/14 – Adjusting devices, e.g. tuning pins, rings, friction discs
• G10D3/16 – bows; bow guides; plects, etc. game equipment
• G10D3/18 – holders for the chin, shoulders and arms; safety devices as part of musical instruments (separate devices and stands G10G)

Patents in this category

Balalaika-type instrument

Ъ F ( l Class 51 s, 38 I { O I 1698e PYAT1NT I INVENT TY I: DESCRIPTION of a device for playing with the help of feet on balalaika-type instruments. To the patent of P. A. Khaustov, declared on June 10, 1929year (application certificate, No. 48999). The grant of the patent was published on September 30, 1930. The patent is valid for 15 years from September 30, 1930. The invention relates to devices equipped with…

16985

Holder for violin playing

o on “eg .c, ð Class 51 s, 10 Second” evidence of inventing a DESCRIPTION of a holder for a violin when playing it. To the author’s certificate of 3. B. Gilvlsvrg and V. Ya. Manusevich, declared on February 2, 1928 years old (application certificate M 23241). 1 On the issuance of a copyright certificate published on December 31, 1931. The prize of the invention. D.V. The present invention, which is …

24686

Sonometer for fretting musical instruments

M 32906 Class 518, P / J87OE SIDPBIYUK, HA N365FETEHHE DESCRIPTION of a sonometer for breaking the frets of musical instruments. To the copyright certificate of N. I. Yakovlev, declared on December 2, 1932 years old (inquiry about the first. No. 119591). On the issuance of a copyright certificate op.blikovaio October 31, 1933. The present invention relates to devices that facilitate the process of breaking frets into…

32906

Method for making plucked and bowed musical instruments

Class 5lc „14v! USSR 1 F! ! DESCRIPTION OF THE INVENTION TO THE AUTHOR’S CERTIFICATE A. L. Kozlovsky, F. G. Savitsky, N. A. Feklisov, N. P. Titov47 g, for M 370409 in L!ppststrstgo of the local industry of the RSFSR The subject of the invention is a method for manufacturing IlIH!!KQBI, and stringed musical instruments…

85898

Dashboard for Bowed Musical Instruments

Class 51s, 5 M 108197 USSR DESCRIPTION OF THE INVENTION TO AUTHOR’S CERTIFICATE I. S. Kuznetsov SHOWER FOR BOW MUSICAL AND INSTRUMENTS Declared February 8, 1967 for No. 666438 to the Committee for Inventions and Discoveries at the Council of Ministers of the USSR Subject of the invention Usually used in bows of musical instruments, darts used to transmit vibrations to the bottom of the instrument from …

108197

Method for excitation of continuous oscillations in resonant, for example, string pickups

t88O57 DESCRIPTION OF THE INVENTION FOR THE AUTHOR’S CERTIFICATE Union of Soviet Socialist Republics GSESD.,1 “”-.D; q “B,” .11ET1

188057

Humidifier for musical instruments

Union of Soviet Socialist Republics DESCRIPTION OF THE INVENTION K PAHEILIU Dependent on the patent N— Claimed 14. X.1968 (No. 1276335/28-12) Priority” Published 29.X.1970 B!Olletsn¹ 33 Date of publication of the description 21.!.1971 Cl. 51s, 3/01 IPC G 10d 3/00 UDC 681.8! 7.06(088.8) Co.;:.-years in case 1, tobrete and opened: “!! under the Council of Ministers of the USSR Foreigner Ralph Ho…

285671

Tool for pressing and cutting frets in the fingerboard of a musical instrument

-G, tp, and DESCRIPTION 398999 INVENTION Union of Soviet Socialist Republics TO AUTHOR’S CERTIFICATE Dependent on author. certificates Ne – Claimed on 27.VII.1971 (No. 1686239/28-122 M.Cl. G 10d 3 00 with the addition of the application ¹â€ ”State Committee of the Council of Ministers of the USSR on Inventions and Discoveries Priority” Published on 27.IX.1973. Bulletin 38 Date of…

398999

Line for making and assembling musical instrument necks

1. LINE FOR MANUFACTURING AND ASSEMBLY OF MUSICAL INSTRUMENT GROUPS, including a pulsating conveyor with a feed mechanism, devices for loading, locating and fixing workpieces, units for drilling holes and sampling grooves, a command device for controlling the sequence of turning on the drives of actuators of devices and units, an unloading mechanism processed necks and…

1169013

Stringed musical instrument

The invention relates to the production of stringed musical instruments, violins in particular, and improves the sound quality of the instrument by means of polystyrene layer 3 deposited on the inner plane of the lower deck 2. 1 ill. (L sd 4 SOYUZ SOVIET SOCIALIST REPUBLICS ÄÄSUÄÄ 1300549A1 e1) 4 G 10 0 3 00 DESCRIPTION OF THE INVENTION TO A BTOPCiCOMY STATE CERTIFICATE …

1300549

Fret press tool

EFFECT: invention allows to increase labor productivity. The device consists of a movable carriage 2 with a stop, a node 10 for cutting grooves in the fingerboard, a mechanism 3 for feeding a fret wire, a node 4 for pressing and trimming the fret plates, and a mechanism for switching the movement of the carriage 2. 3 ill. 10 s (L co about SP sj O) 00 FIG. 1 UNION OF SOVIET SOCIALIST REPUBLICS (51) 4 C 10 D 3 00 DESCRIPTION …

1305768

Tool for pressing and cutting frets in the fingerboard of a musical instrument

The invention relates to a device for pressing and trimming frets into the fingerboard of a musical instrument and makes it possible to increase labor productivity by means of a bracket 14 installed on a press carriage 9 with vertical guides, a rack with rigidly fixed pushers mounted on a frame 1 of a plate 18 with placed on it with the possibility of rotation in a vertical flat. ..

1307471

Capo by A.S. Kizyaev

The invention relates to stringed musical instruments and makes it possible to increase ease of use by means that the arcuate clamping element is made of two separate cantilever parts 5 and 6, the free ends of which are placed overlapping one relative to the other, and the spring 4 is located between the arcuate base 7 and the clamping elements. 2 ill….

1547026

Tar

The invention relates to a musical instrument – a tare and makes it possible to expand the performing possibilities by means of the presence of seven reed frets on the heart of a small bowl. 3 ill. UNION OF SOVIET SOCIALIST REPUBLICS STATE COMMITTEE FOR INVENTIONS AND DISCOVERIES UNDER SCST USSR DESCRIPTION OF THE INVENTION Ir – 1.- s-1 — —,; — — – — -. TO AUTHOR’S CERTIFICATE…

1751809

Guitar Jig

The invention relates to a stringer for a guitar. The essence of the invention lies in the fact that the middle raised part of the plate, located under the threshold, is made with the possibility of forming beams, one ends of which are fastened to the plate, and the opposite ends are suspended to form a cantilever. 3 s. p. f-ly, 6 ill. The invention relates to the design and production of mainly string…

2061260

Method for shifting the phases of vibrations of decks of bowed musical instruments

The method of shifting the phases of vibrations of the decks of bowed musical instruments to improve the timbre of the sound consists in the fact that the phases are shifted relative to each other up to 180o by crimping the material of the upper soundboard in the areas of installation of the homie and stand, on the left of the installation of the spring along the length of the ff to the density of the material of the lower soundboard while maintaining the thickness soundboards on these sections of the former. 1 ill. Bow and…

2139576

String Instrument Tremolo Tuning Lock

SUBSTANCE: invention relates to a lock of the tremolo mechanism of a stringed musical instrument. The latch contains on the body of the instrument with the possibility of changing the tension of the strings for performing tremolo, a lever, one of the arms of which is installed with the possibility of interacting with one end of the axis spring-loaded in the longitudinal direction. The axle spring is installed with the possibility of changing the tension. Retainer…

2361286

Method for maintaining the tuning of a stringed musical instrument

The invention relates to a method for maintaining the tuning of a stringed musical instrument. The method consists in that the stringed musical instrument contains a tremolo mechanism, a rear nut, a front nut, pegs with the possibility of adjusting the height of the pegs axis, on which the string is wound. At the same time, the section of the string located between the point of contact of the string of the nut and the point of the beginning of the contact…

2367032

String Instrument Tremolo Stabilizer

The tuning stabilizer of the tremolo mechanism of a stringed musical instrument contains a lever mounted on the body of the instrument, with the possibility of changing the tension of the strings to perform tremolo. One of the arms of the lever is installed with the possibility of interaction with one end of the axis spring-loaded in the longitudinal direction, the spring of which is installed with the possibility of changing the tension. At the same time, the device…

2407067

Electric Guitar String Fixing and Tuning System

The system for fixing and tuning electric guitar strings consists of a clamp for the free ends of the strings, which is installed on the end of the neck in such a way that the string passing through the clamp is bent at an angle of 90 ° or more at the end of the neck at right angles to the plane of the neck, and a machine for tensioning and string tuning, which is installed on the body of the instrument behind the saddle (bridge). Masha…

2408086

Laminate for soundboards of musical instruments

The invention relates to laminates used for the manufacture of resonant soundboards of musical instruments, in particular the soundboards of bowed, plucked and keyboard instruments with high acoustic characteristics. Laminate material for soundboards of musical instruments contains interconnected soft and hard layers located perpendicular to a predetermined base plane.

2504024

Method of mounting the solenoid over the string of a stringed instrument

The invention relates to a method for installing a solenoid above the string of a stringed instrument having a common board above the neck of the said stringed instrument with through holes for each said solenoid, containing a winding inside which a plunger is placed with the possibility of axial movement, tapering towards its output pin to limit the working movement of the said plunger limited…

2564585

Nut of a stringed musical instrument with calibrated holes for strings

The invention relates to a nut for stringed musical instruments. The nut of a stringed musical instrument has calibrated holes for each string, strings of a certain diameter are used. This nut is especially suitable for electric guitars that have a straight string arrangement from the back nut to the point of contact with the axis of the tuning machine. The holes prevent the string from falling out…

2602959

Standalone frame for stringed musical instrument

The invention relates to musical instruments, namely to parts for musical instruments, in particular to fasteners for attaching external devices. The frame for autonomous operation of a stringed musical instrument contains two walls, a rail, a system of brackets and a device for fastening a sound-extracting mechanism. The rail is made with the possibility of fastening to two walls, the crown system.