Fender Innovation by FreddieJordanDesign

New Product Development - Tools & Techniques Innovation Management Freddie Jordan 0603918

Contents Abstract Introduction

5 7

Quality Function Deployment (QFD) Product Choice Product Comparison Chart Gretsch G5210 Components Customer insight Understanding the Voice of the Customer Customer Requirement Ranking Customer Requirement Conversion Competitive Benchmarking House of Quality (HOQ) QFD Conclusion

8 9 10 11 12 13 14 15 16 17 18

Product Function Analysis FAST Chart Product Function Analysis Conclusion

21 22-23 24

Value Analysis Value Analysis Matrix Value Analysis Conclusion

27-28 29 30

Failure Modes and Effects Analysis (FMEA) FMEA Matrix FMEA Conclusion

33 34-35 36

Conclusion References Appendix

37 38 39-41

John Mayer playing Fender Stratocaster at Hard Rock Calling â&#x20AC;&#x2DC;08 4

Abstract The use of New Product Development (NPD) tools are imperative to the success of products. Used in this document are the tools Quality Function Develepment (QFD), Function Modes and Effects Analysis (FMEA), Product Function Analysis and Value Analysis. Each looks at the different ways to ensure innovation of future products will be successful. The tools will be used to analyse three guitars. The Fender Stratocaster, Gibson Les Paul and the Gretsch G5210. Throughout, the tools are discussed and their application and findings analysed and explained.

Joe Bonamassa playing Gibson Les Paul at Shepherds Bush â&#x20AC;&#x2DC;09 6

Introduction This report looks to document all reasoning and stages undertaken when using various New Product Development tools (NPD). Throughout the documentation the tools used include Quality Function Deployment (QFD), Product Function Analysis (PFA), Value Analysis and Failure Modes and Effects Analysis (FMEA). Quality function deployment is a systematic technique for identifying the features of products which contribute strongly to quality, and thus where design engineering is needed. (Molloy, â&#x20AC;&#x2DC;98). Product Function Analysis (PFA) is a customer orientated technique that aims to highlight the functions of a product as perceived by its user. A Value analysis is a breakdown of a product into its components to establish the relationship between its cost function and user value. Function Modes and Effects Analysis (FMEA) looks at mitigating failures in a product before it has been produced. The tools will be applied throughout to three guitars. Fender Stratocaster, Gibson Les Paul and Gretsch a G5210.

Quality Function Deployment (QFD) Quality function deployment is a systematic technique for identifying the features of products which contribute strongly to quality, and thus where design engineering is needed. (Molloy, ‘98). QFD is based on a matrix approach to design, mapping the requirements (starting with customer requirements) onto the means of achieving them. There are four main stages to Quality Function Deployment : • • • •

Firstly, a matrix is developed to explore the technical attributes of a product which contribute to customer needs. For this customer assessment of competing products must be undertaken. Secondly, completing product analysis ranks the performance of existing products in terms of both customer satisfaction and technical performance. Translate customer requirements to design requirements. Thirdly, establish relationship between each design requirement and produce quantitative targets for each of the technical attributes of the product. Fouthly, these targets and prioritised. (Bullet points taken from Product Design : Practical methods for systematic development of new products. Baxter ‘95)

In short, the main purpose for the QFD is to translate the subjectivity of customer requirements (Voice of customer : ‘VOC’) into a a matrix called the House of Quality which is able to quantify the views. The matrix is able to show the most effective way of incrementally changing a design and furthering development of projects and company success.

1 2

1. Correlation Matrix 2. Design Requirements. 3. Customer Requirements. 4. Relationship Matrix. 5. Customer Assessment of competing products. 6. Design Quality Targets.

6 Figure 1 - House of Quality Matrix

The aim of the QFD is to produced a streamlined functional way of viewing customer needs together with design requirements and targets. It is to be used so that the customer needs are recognised in a way that are identifiable at the design stage and can be carried forward into production. When designing a new product it is essential to know both what the customer wants to get from it and what is achievable. Since its conception in 195o’s the electric guitar has cemented itself as a necessary requirement for modern day bands. The basic design is not on that has not dramaitcally changed since its conception and one that wil be interesting to disect. The QFD will aim to evaluate peoples expectations of guitars and try to give a sense of what design requirements are essential and what would be necessary in order for possible improvement and continued success.

Product Choice Chosen for analysis are three medium to high priced electric guitars. The Fender Stratocaster (Standard American), the Gibson Les Paul (Studio) and the Gretsch (G5120). All three come from establish, respected manufacturers that have a successful understanding of the market they are in. Each guitar offers different attributes, dependent on the styling and sound that an artist wishes to produce. The designs are ones that have been relatively untouched since being first manufactured in the 1950â&#x20AC;&#x2122;s. Both Fender and Gibson operate in a market that has mainstream appeal to guitarists and are joint market leaders. Gretsch is a smaller manufacturer that sells more specialist guitars that use different woods and types of guitar body to create deeper jazzy, bluesy tones. The QFD analysis is to be performed on the Gretsch G5210 guitar to highlight areas of possible improvement and to potentially further the success of an already well established company.

Product Comparison Chart Fender American Standard HSS Stratocaster Electric Guitar RRP $999.99 Ma nufacturer : Fender Materials : Rosewood (Fretboard) Maple (Neck & Body) Stainless Steel (Hardware) Pickups : 2 single-coil pickups in the front and middle, 1 Humbucker at the bridge 1 2 3

Unique Features : 1 - Thinner undercoat for improved body resonance 2 - Bent steel Fender saddles 3 - Redesigned American Standard Strat Bridge

Gibson Les Paul Studio Electric Guitar RRP $899.99 1

Manufacturer : Gibson Materials : Mohogany (Headstock & Neck & Body) Rosewood (Fretboard) Stainless Steel(Hardware) Pickups : 490R and 498T Alnico 2 magnet humbucker pickups

Unique Features : 1 - Pearl inlay Fretboard 2 volume and 2 - 2 tone knobs, 3-way switch

Gretsch Guitars G5120 Limited Edition Electromatic Hollowbody Electric Guitar RRP $849.99

Manufacturer : Gretsch

Materials : Laminated Maple (Headstoch & Neck & Body) Ebony (Fretboard) Stainless Steel (Hardware) Pickups : 2 Chrome covered dual-coil humbucking pickups. Unique Features : 1 - Black headstock overlay 2 - Neo classic tumbnail inlay position markers 3 - Knurled strap retainer knobs

Figure 2 - The chosen guitars and their parts

The Gretsch G5120 1 2

Gretsch G5120 Components The components found on the Gretsch G5120 are found on the majority of guitars. 1. Tuning Pegs - The 6 Different strings are held in tension by the tuning pegs. The pegs can be turned to tune the guitar to the correct sound.

2 - Headstock - The piece of wood allowing the tuning pegs to be mounted and the strings connected. 3 - Nut - Area in which truss rod is inserted. When the string tension is placed on the guitars neck, the neck will naturally want to bow forward with the tension, truss rods help the bow to be controlled.

4- Frets - Frets are the metal ridges along the guitar that when the strings are pressed upon produce a different note. (Ultimate guitar ‘10). 5 - Neck - Wood piece allowing strings to be mounted and guitar to be gripped by user. 6 - Scratch Plate - Plastic covering to protect wood from any scratches from guitar being played. 7 - Pickups - The electronic devices that pick up magnetic fluctuations in the area around the pickup which can be disturbed by the string to make sound. (Ultimate guitar ‘10). Different types of pickups that are wound tighter have different sounds. The amount and type is critical to the sound. 8 - Tremolo - Metal bar that when pressed forces the bridge to move slightly and the strings to flex, thus changing the sound of the note being produced.

6 7 8 9 10 11 12 13

9 - Bridge - The part where the strings sit at the body end of the guitar. The bridge may be Tune-O-Matic, Floyd Rose, Hardtail, Bigsby or Tremolo. (Ultimate guitar ‘10). The G5120 has a tremolo bridge and allows the strings to be bent by the tremolo arm. 10 - Volume & Tone control - Knobs that allow for control of the sound level and tone being produced by guitar. Turning the knobs affects the sensitivity of the pickups. 11 - Selector Switch - Switch allowing which pickup is currently active. Different combinations of pickup produce different sounds. 12 - Output Jack - Jack in which lead is inserted so that sound can be amplified. 13 - Body - Part of the guitar that holds the bridge, pickups, strings, tremelo inputs, and volume/tone controls. The body is usually made from wood such as Maple, Mahogany, Rosewood etc. Different woods create different resonances and different sounds.

Figure 3 - Breakdown of key components

Customer Insight In order to begin the QFD, first, the customer requirements must be asked of and understood. In the appendix is the questionnaire that was used to find out what end users beleive they want in a guitar. Surveyed were 10 people, forming 2 bands and 2 solo artists. This ensures that quality of answers is high, as previous understanding of guitars are evident. The information gathered from the 2 solo artists was via direct interview (focus group) that took place in London and the bands results were compiled via email and Skype correspondance due to being on tour. Interviewing the artists directly allowed for a more in-depth discussion as to what they beleive they need in the instrument. When the results of the bands were then compared a more complete understanding of their descriptions was able to be obtained. Having the three guitars myself, the two directly interviewed solo artists were able compare and contrast the various attributes in a user group scenario, this gave accurate feedback as to which they preferred. With 15 years and 12 years band experience respectively, the email and Skype correspondance between myself and the 2 bands gave insight into what they believe guitars should have and how they relate to the three in question. The results of the user group and email questionnaire correspondance is documented in the appendix. The results show user requirements in order of what each person deemed to be most important to them in purchasing a new guitar and their view on how that particular attribute related to each guitar in question. The attributes that each person thought a guitar must have is listed in order from highest to lowest, while the rating as to how well each guitar performs with regard to the selected attribute is ranked from 1-5 (with 1 being the lowest performance in that category and 5 the highest).

Understanding the Voice of the Customer The table below has been produced to show the similarites between the user statements as to their views on what a guitar should have to be desirable and worth purchasing. The statements gathered from the focus group and from the questionnaire need to be filtered and distilled into a customer requirement category that can then be used to define the eventual design requirements.

Customer Statement

Customer Requirement

Guitar has to produce a ‘bluesy’ tone. The sound, needs to produce a ‘rock vibe’. The type of genre variation that can be played. The versatility. Being in a cover band means I need to change styles. The sound. I like to play clean country/jazz. Different tone options. How the guitar feels to play. The curvature - how well it fits me. How it feels to hold and be played must be good. The weight. Can I rock out to the max and pull serious moves?

The sound/tone quality.

Colour is important. Has to reflect image of band. How am I going to look when playing? The styling. The colour, style, trim, fretboard inlays.

Appearance.

Do not want it to break. The wood has to be of a fine quality. The quality and finish of wood.

Durability.

The pickups that are fitted. Type of pickup.

Quality of electronics.

Will it go to 11?

Volume level.

The manufacturer is important. The reputation the guitar has as to quality.

Branding.

‘Lowness’ of action. Playability.

Distance of strings from neck.

Ability to make guitar my own. The rarity value. I want a unique instrument!.

Customisation.

Type of headstock. The headstock quality, tuning all the time is annoying.

Well built headstock.

Dont want it to be too expensive.

Cost.

The quality and finish of wood.

Quality of materials.

Inclusion of a Tremolo arm.

Extras to improve sound.

The fret size.

Correct distance between frets.

Parts must be easy to clean & repair.

Ease of maintenance. Figure 4 - Voice of the Customer

The feel/shape of the wood when being held. Weight.

Customer Requirement Ranking Now that the customer statements have been translated into customer requirements, these requirements must be quantified and assessed. Below., the table indicates the average responses to both the overall importance of what attributes a guitar must have and the average ranking of how well each of the selected products fulfils the category. At this point the Customer requirements have also been tranposed into categories to define which heading they fall under, in the case of the guitar most people were concerned with performance, aesthetics, usability and ergonomics. In the case of the guitars product ranking, the results must be analysed carefully. Interestingly of the people who noted that it is important for guitars to have a certain fret distance all rated that all the guitars have a 5 for this after scoring it lowly on importance. This suggests that they are very happy with the fret sizing. It is not something for further development. Having a rating of 1, suggests it is not important, however it is imperative to the guitars playability, thus it must be deduced that people are just expectant of it being a part of the guitar and that it is a subconsious judgement to say it is not needed. People were least happy with the price of the guitars, to reduce the price of any of the guitars would mean a compromise in quality, so is an interesting area to consider when designing. Perhaps, the biggest areas for innovation come in the areas that people are already happy with, the tone and quality, quality of electronics, appearance and customisation. Further improvements on what people deem to be highly important is more likely for success. The Strat and Les Paul scored the best, with the Gretsch coming in last, this is primarily beacuse of its hollow body type, which helps it to score highly on sound and quality but the fact it is not a maintstream brand name means people are not as familiar with its appearance and feel. It is the heaviest guitar and was one people were not as exposed too. Streamlining the brand image and quality aspects of the guitar may be the solution of making it become a more well-known brand. Customer requirement category

Customer Requirements

Performance The sound/tone quality.

Average Customer product ranking

Average customer importance ranking

Stratocaster

Les Paul

Gretsch G5120

4 4 5 4 4 4 4 3 3 4 4 5 4 3 4

5 5 3 3 4 5 5 4 3 4 5 5 5 3 3

4 4 5 3 3 3 4 2 4 2 3 5 3 2 3

3 2 66

2 2 55

Aesthetics

Appearance. Branding. Quality of materials. Customisation.

Usability

Distance of strings from neck. Correct distance between frets. The feel/shape of the wood . Weight. Feel of the strings

5 3 2 2 4 4 5 3 4 4 3 1 5 4 2

Ease of maintenance. Cost.

2 4

2 2

Total

Volume level. Extras to improve sound. Well built headstock. Quality of electronics. Durability.

Ergonomics

Other

Figure 5 - Voice of the Customer interpretation and ranking

Customer Requirement Conversion This section examines the conversion of the customer requirements into design requirements that will allow for accurate realisation of a final product that will reflect successfully the issues raised from the various questionnaires and focus group. This stage is usually carried out by a design team, however, in this instance has been realised by myself. Some customer requirements have been grouped together as they can be covered by one design requirement. Others have been split into severeal requirements. For instance the feel and shape of the wood, all contrbutes to the ergonimics of the guitar but in order for success, the wood must have soft contours and a smooth finish giving rise to seperate design requirements. Customer requirement category

Customer Requirements

Performance The sound/tone quality. Volume level. Quality of electronics. Extras to improve sound. Well built headstock. Durability. Aesthetics

Usability Ergonomics

Other

Appearance. Branding. Quality of materials. Customisation.

Design Requirements

Well built & properly housed electronics. Meets EU Standards. Tremolo arm/possible in-built tuner. Inclusion on Truss rod in neck to stabilise headstock. Laquered coating/securely fastened parts. Colour & finish.

Wood & metal type. Options for personal paintjobs and finishes. Distance of strings from neck. Lowered action, for faster, cleaner playability. Correct distance between frets. Standard Gretsch 22 fret guitar spacing. Soft contours, smooth finish. Ergonomic form. The feel/shape of the wood . Weight. Lighter, with sound quality still evident. Feel of the strings Ergonomic string form. Ease of maintenance. Removable strings, control knobs and access to electronics. Production overheads. Cost. Figure 6 - Voice of the Customer Conversion

Competitive Benchmarking From looking the customer ranking table (Figure 5) it is already established that the Gretsch scored the lowest from the customer rankings. By looking at what each guitar already has in terms of design requirements the areas for design improvement can be seen. At this stage a design team would look to analyse the key areas of customer requirement that are missing from the design requirements. In the case of the Gretsch it is not far behind both Fender and Gibson in terms of the way it is constructed and its function. This suggests the issue for being less popular lies with the fact it is a lesser known brand of guitar. There are some areas for innovative product design solutions to occur. The customisation being the main contender. With Fender and Gibson offering customisation of their guitar (all be it for a slightly higher price) Gretsch are being left behind in this market area. A suggestion for solution could be a customisable scratchplate. There is no point making the whole guitar customisable as if it is not a favoured design now, making it more expensive will not help boost sales. However, making part of it customisable may intice the customer into purchasing. The Gretsch also falls behind on its action. Action is the distance between the strings and the frets. As it has a higher action, the strings need to be pressed harder in order to be played, thus slowing the playing down, this is an area that could be addressed. The table below looks at comparing the Design requirements with the attributes the three guitars already have. This is to be used again in the House of QUality (HOQ) to suggest areas of improvement for Gretsch. TheHOQ looks to document the customer importance and their needs, with interrelationship ranks between them, deducing the important areas for innovation is crucial to further product success. It looks at the correlation of the importance and analyses the tradeoffs of having one versus the other. The HOQ documents that having a lighter guitar will cause a negative tradeoff with qualiity of wood for example.

Design Requirement

How products already rate to requirements Gretsch G5210

Well built electronics.

Moderate - Sound production Solid electronics2 single-coil not as great as others. pickups & 1 Humbucker

Gibson Les Paul 490R and 498T Alnico 2 magnet humbucker pickups

Yes

Chrome

Inclusion of Truss rod.

Yes

Laquered coating/fastened parts.

Yes

Natural/Varnished

Various Matt/Gloss

Maple/Ebony

Rosewood/Maple

Mohagony/ Rosewood

Personal paint jobs and finishes.

No Customisation available

Yes

Lowered action/faster playability.

No - Higher action

Yes

22 fret guitar spacing.

651 mm neck length

647mm neck lengthe

641mm neck length

Soft contours, smooth finish.

Yes

Ergonomic string form.

Yes

Meets EU Standards. Tremolo arm.

Colour & finish. Wood & metal type.

Lighter, sound quality still evident. No - Although Hollow, heavier metal parts are used.

Fender Stratocaster

Removable strings.

Yes

Production overheads.

High

Cheaper to produce/larger demand

Figure 7 - Existing product attributes comparison with design requirements

Yes

Design Targets

Yes

B - Fender Stratocaster

Yes

Moderate

Maple/Ebony

Yes

Figure 8 - House of Quality

Yes

10% Reduction

Moderate

5.50 144.6

Yes

112.8 102.2 54

3.9

2.0

Yes

High

Quality of materials.

4 Distance of strings from neck. 4 3 Customisation.

100% 2626.9

21.6

4.3

Yes

0.8

Yes

16.0 421.2

293.4

10.6 278.4 3.9 101.4 3.0 79.2

Maple/Ebony

11.2

5 3 4 4 5

4 4 5

2 2 4 4 5 3 5 5 3

3 4 3

3 4 4

Sales Point Overall Weighting

Improvement Factor

Planned Satisfaction Rating

C - Competitor Product

B - Competitor Product

A - ‘Own Product’

Production overheads.

Removable strings.

Lighter, sound quality still evident.

Ergonomic string form.

Soft contours, smooth finish.

22 fret guitar spacing.

Lowered action/faster playability.

Personal paintjobs and finishes.

Wood & metal type.

Colour & finish.

Laquered coating/fastened parts.

Inclusion of Truss rod.

Tremolo arm.

Meets EU Standards.

Ergonomics

Yes

Natural

11.0 288

61.5

Customer Importance

Well built electronics.

Aesthetics

Yes

Rosewood/Maple

A - ‘Own Product’ Gretsch G5210

Mohagony/ Rosewood

Percentage of Total

Yes

Technical Priorites

2.3

Cost.

Yes

Feel of the strings Ease of maintenance.

Yes

Weight.

200

The feel/shape of the wood .

7.6

Correct spacing of frets.

Yes

Branding.

Yes

Appearance.

130.2

Durability.

5.0

Quality of electronics.

Yes

Well built headstock.

Yes

Extras to improve sound.

12.9 338.4

Volume level.

Moderate

Customer needs

Yes

Performance

The sound/tone quality.

Various Matt/Gloss Various Matt/Gloss

Yes

Aesthetics

Performance

Various Matt & Gloss

C- Gibson Les Paul

Yes

Technical Benchmarking

Other Ergonomics Usability

House of Quality

Technical Details

Planning Matrix

5 1.2 1.5 9.0 4 1.0 1.0 3.0

5 1.0 1.0 2.0 4 1.2 1.2 2.9

4 5

4 4 5

2 3 4

4 3 3

2 4 4

3 4 5

1 5 4 5 5 5

3 4 5

2 3 3

2 3 4 3

2 4 2 2 3 4 1.2 1.0 2.4 3 1.2 1.2 2.9

2 2 2 2 1.0 1.5 6.0

4 1.2 1.5 7.2 4 1.2 1.2 5.8

5 1.2 1.5 9.0 4 1.4 1.2 5.0

4 1.0 1.5 6.0 4 1.4 1.0 5.6

4 1.2 1.5 5.4 5 1.0 1.0 1.0

4 1.2 1.2 7.2 3 1.2 1.2 5.8

Key

Positive Relationship

Negative Realationship

Strong (9)

Medium (6)

Weak (3)

QFD Conclusion The streamlining and deduction of customer requirements into design requirements that the QFD allows for is important when designing new product strategies. It allows for quanifiable research even before a design has been produced and reduces the likelihood of failure as the voice of the customer has already been heard and interpretted. The HOQ allows for clarification of all data surrounding the various requirements and analysises their importance. The whole process also allows for collaboration from various members of a designing team giving rise to product development that has had input from more angles of thought. QFD is a tool that must be used properly with correct interpretation of user requirements into design requirements when looking to improve certain areas of a design. Having the whole design team on board when using the QFD will allow for realistic improvements to be made. The QFD helps to realise that reducing the weight may compromise the quality of the sound as less wood means less resonance, and poorer overall tone. It is a tool that allows for sensible, reasoned product innovation. In the case of the Gretsch guitar the clear areas for improvement are : • • • • •

The build of the electronics The variation in colours and finishes available The customisation of areas (such as scratchplate) Reduction in weight Reduction in cost.

The QFD has allowed reason to be given for these suggested improvements through both listening to users needs and collaborating with the design team to make sure they are feasable.

Design Requirement

Gretschs New Targets Gretsch G5210 (old)

Gretsch G5210 (new)

Well built electronics.

Moderate - Sound production not as great as others.

Possible inclusion of single coil pickup

Meets EU Standards.

Yes

Chrome

Inclusion of Truss rod.

Yes

Laquered coating/fastened parts.

Yes

Natural/Varnished

Various Matt & Gloss

Maple/Ebony

Personal paint jobs and finishes.

No Customisation available

Customisation available

Lowered action/faster playability.

No - Higher action

Yes - Lowered action

22 fret guitar spacing.

651 mm neck length

Soft contours, smooth finish.

Yes

Ergonomic string form.

Yes

Tremolo arm.

Colour & finish. Wood & metal type.

Lighter, sound quality still evident. No - Although Hollow, heavier

metal parts are used.

Yes - Possible reduction in bridge size (shown to right)

Removable strings.

Yes

Production overheads.

High

10% Reduction

Figure 9 - Projected design targets

Eric Clapton playing Fender Stratocaster at Hard Rock Calling â&#x20AC;&#x2DC;08 20

Product Function Analysis (PFA) Product Function Analysis (PFA) is a customer orientated technique that aims to highlight the functions of a product as perceived by its user. Product Function Analysis is the first step towards Value Analysis and Failure Modes and Effects Analysis (FMEA) (Baxter. ‘95) that are discussed later in the documentation. It is important to recall that function is “a statement of a clear, reproducible relationship between the available inputand the desired output of a product independently of any particular form” and that a Sub-function is “a component of a product function. An overall function can, and often must, be divided into identifiable subfunctions corresponding to subtasks.” (Ariyatum, B. ‘10). When carrying out a PFA various steps must be undertaken : 1. Establish all the functions that the product can carry out, by asking what the product does, not what it is. 2. Arrange the tools into a function tree known as a Function Analysis System Technique (FAST) chart. 3. The FAST chart is heirarchical tree which needs to have the functions grouped in order or their importance. 4. The FAST chart will be complete when the last list of functions cannot be easily or logically subdivided into subsidiary functions (Baxter, ‘95). The product being studied for the follwing FAST chart is Fender Stratocaster guitar. In a company setting a brainstorm would be had by everyone as to what a guitar should be able to do, in this instance the functions a guitar should perform have been partially carried out by the interviewed artists and completed by myself. At the end of the focus session the various artists being interviewed were asked to list 3 things they thought a guitar must do. The results have been incorporated with my own views and collaborated together to form the FAST Chart. From the user response it is evident that they have understanding of primary and secondary functions, the subsidurary functions have been reasoned to complete the full FAST chart. It must also be noted that there are other forms of PFA tools available such as the subtract and operate procedure and function structure, which produce a heirarchical tree and mapping or relationships, respectively. In this instance a FAST chart has been chosen as it is the most easily accessible analysis to undertake in the given circumstances.

User Response

User 1

Must produce sound. Allow volume change. Fast Playability.

Played repeatedly Make good quality sound Allow for tuning.

Produce Sound. Tone variety. Bend Strings.

Allow volume change. Change Volume. Easy to tune. Make noise. Not fail during a gig. Change sound. Figure 10 - User Response to guitars funtcion

FAST Chart The FAST Chart below has been carried out for Fender Stratocaster guitar. The primary function is the most important function of the product moving to the secondary, tertiary and subsiduary levels from left to right.

‘How?’ Primary Function

4th Function

Secondary Function

Tertiary Function

Facilitate the tuning of strings.

Allow for tension of strings to be correct when tuned.

Connection point for strings.

Truss rod inclusion to keep neck straight during string tension.

Strings connected at bridge.

Attach to user.

Remain attached whilst being played.

Allow for holding of the guitar.

5th Function

6th Function

Provide strength.

Allow for movement.

Assist the making of music.

Plectrum moved up and down perpendicular to strings.

Striking of strings with plectrum.

Fingers placed on strings.

Strings vibrations. Allow notes to relayed to amplifier.

Functioning pick-ups

Allow for repitition of notes

Volume control of guitar.

Alteration of electronics sensitivity.

Tone control of guitar.

Selection of Pick-ups combination.

Flicking pick up selector switch.

Selection of Pick-ups sensitivity.

Shifting of Tremolo arm.

Bend strings.

Turning of Tone dials.

Strings distance from fretboard.

Lower action Prevention of sound failure.

Electronics capability. Quality of wood.

Application of surface finishes.

Protection of components.

Correct sealing of parts.

‘Why?’

Strings depressed at desired fret number.

Figure 11 - FAST Chart

Clarity can be given to the FAST chart by using the further analysis tool of ‘How?’ and ‘Why’ validation. By tracing from left to right (Primary to level 6) each subsidurary level should answer the question ‘How?’. Similarly by tracing from right to left, (Level 6 to Primary) the question ‘Why?’ should be answered.

How? From the primary level it can be noted that a breakdown of what must happen to produce sound has occured. 1. Produce sound. 2. In order to produce sound from the guitar the notes being pressed need to be relayed to an amplifier. 3. For this to occur the pick-ups within the guitar need to have received a signal. 4. The signal can be controlled by the input of a selected tone which alters the pick-ups sensitivity. 5. The tone can be adjusted by the bending of the guitar strings. 6. In order for the strings to be bent the tremolo arm must be moved.

Why? 1. A tremolo arm is only necessary if wishing to produce a sound that gives a ‘wahing’ effect. This effect can somewhat be produced by shaking the guitar, to change the vibration received by the sound. It is not a crucial element for a guitar have, but rather a specific accessory. 2.Different thickness of strings lead to different tones of sound. Thicker strings usually give a deeper tone but are less able to be bent by the user. 3. This leads to adjustment of the guitars tone. Although the tremolo isnot necessary for total function, it does give the added options. At this point however, if adjustment of tone is not completed by a tremolo arm or internal electronic settings, primary function of producing sound cannot be achieved with any quality. 4. Functioning pickups are one of the most crucial parts of the guitar. The different coils contained and amount of pick-ups on the guitar constitute the most to stage 2. 2. The pick-ups need to be relayed to an amplifier for level one to be achieved. At this point sound can be altered via the amp or other accessories such as footpedals that allow for signal distortion. Regardless of this fact, signal transmission is essential. 6. For user satisfaction the guitar must produce a sound. Without it, it is rendered useless.

Product Function Analysis Conclusion View ing the different functions of the Fender Stratocaster allows for clear insight into how the product works. It highlights all of the areas that the product must perform in and can give rise to areas of innovation and improvement across different parts of the product. When completing a FAST chart it is important to remember to break the product down directly into its functions and not what it can offer, or the aesthetic satisfaction it provides. The chart must address the function in their simplest form to allow for expansion during analysis. It must address“What a product does?” rather than “What a product is” (Ariyatum, B. ‘10). Breaking down the functions into different levels as to when they are used along the way to producing the primary function (sound), allows stages where incremental changes can be made in order to improve the most important function. If the guitar was to be improved across attributes it has in the higher levels it would be an incremental change as supposed to changing the primary or secondary functions, which would be considered radical. Innovation that has arisen from the FAST chart is that of the possible opening for the way the guitar is tuned. Having to manually tune the guitar by using a footpedal and turning the pegs is awkward during a performance, it may be the case where there is a tuner that is built into the guitar to make tuning less obvious, or even further from this the guitar may be one that self tunes. A system where by there is a tuner built into the guitar which helps the user to tune is considered less radical than have a guiter that is able to tune itself. Stages 5 and 6 show that for different tone generation the tremolo arm bends the strings, a possible innovation in this area could be the inclusion of a theramin type accessory which digitally alters the string pitch when the user moves their fingers in front of it or scrapes the pick down it. A 4th function that is shown is to increase the electronics capabililty of the guitar. With many foot pedal accessories being used by artists, the possible inclusion of a system within the guitar body that allows for changing of sound directly on the guitar is a possible innovation in that area. The FAST chart is a useful tool both when designing as a team or individually. It allows for different views from people as to their breakdown of a product which as a team can the be collaborated and refined into a chart that offers the best areas for innovation to be centered around.

Mark Knopfler playing Fender Stratocaster 26

Value Analysis A Value analysis is a breakdown of a product into its components to establish the relationship between its cost and its function. “Maximum value is achieved when essential function is obtained for minimum cost”(De Marle ‘92). It is a tool that is used to ensure that “design features which are expensive to produce make a large contibution to customer value” whilst “conversely, features with little value should add little to cost(Baxter, ‘95). It is also useful to remember that value is not price and is not tangible, but that it is the perceived benefit of a product (Ariyatum, ‘10). Also, price is not cost but it is tangible and refers to the amount at which something is offered for sale. (Ariyatum, ‘10). The aim of the analysis is to produce evidence of areas for innovation that will allow for the highest profit with the smallest outlay. It has been carried out on a Fender Stratocaster. The Value analysis is a step on from the Product Function Analysis. It takes the FAST chart that has already been produced and looks at the importance of those functions. The cost of the functions are then incorporated and a value is assigned to each component. The values are assigned to the various parts in order of their importance. Overleaf on page 29 the Value analysis matrix will use the subsiduary functions (4th level of the FAST chart) from the Product function analysis section to examine the customer value of the guitars function. These functions are shown in the charts overleaf which clarify the customer importance ratings of the subsiduary functions. The Function importance table below shows user rankings of the various functions of the guitar. For this, the 4th level of the FAST Chart was chosen. It was deemed from the variety of functions available at the 4th level that it would be the best when carrying out the Value analysis. Both levels 2 and 3 were considered for analysis but were thought to be too important to gain any answers other than 4 or 5 (maximum function) leaving no area for ideation.

Function

Function Importance User 1

User 2

% of

User 3

User 4

User 5

Total Function Rank

Allow for correct level of friction between strings and fretboard.

7.3

Strings connected at bridge.

10.7

Remain attached whilst being played.

11.7

Allow for movement.

7.8

Strings vibrations.

8.3

Volume control of guitar.

10.7

Tone control of guitar.

8.3

Strings distance from fretboard.

6.9

Electronics capability.

8.7

Quality of wood.

11.2

Protection of components.

8.3

205

100

Total Figure 12 - User rankings of function

Deducing the component price for the Fender Stratocaster is key to understanding the value of each of the parts function. The RRP for the guitar is $999.99, this is the U.S price so tax has not been added. For the purpose of this exercise it has been assumed that the price of the guitar leaving the factory is 25% of its RRP. This would make the overall price of the guitar $250 as it leaves the factory ready for sale., this figure minus overheads of around 150% would mean the component cost is $68.

Component

Component Cost ($)

Headstock - Maple Nut x6

10.0

Fret Markers (Stainless steel) x23

2.30

Neck - Maple - 647.00mm

20.0

Scratch Plate - Polypropylene

1.0

Pickups x3 each with - x6 wound coils x2 PP covers

8.0

Tremolo Arm - Stainless Steel

1.0

Bridge - Stainless Steel

4.0

Volume & Tone control x3 PP knobs

0.50

Selector Switch - Aluminium w/PP cap

0.10

Output Jack - Stainless Steel

0.40

Body - Rosewood

20.0

Strings x6 Steel wire

0.10

0.60

Figure 13 - Component costing.

Figure 14 - Value Analysis Matrix

Connection point for strings.

6.80 10 10.7 0.93

9.7

7.3

1.32

Function Cost (%)

Importance of Total Function (%)

Value

0.8

6.60

2 0.60

Strings connected at bridge.

Function Cost ($)

Headstock - Maple Nuts Fret Markers Neck - Maple - 647.00mm Scratch Plate - Polypropylene Pickups Tremolo Arm - Stainless Steel Bridge - Stainless Steel Volume & Tone control knobs Selector Switch Output Jack Body - Rosewood Strings

Component

Allow for movement.

2 0.2 5.17 7.6 7.8 0.97

3 4.44 11.7 0.38

Remain attached to user whilst being played.

1.15 2

Strings vibrations.

0.65

3.65 5.36 8.3

2 .50

1.15

Volume control of guitar.

0.38

2.80 4.11 10.7

0.40

Tone control of guitar.

0.48

2.70 3.97 8.3

0.10 0.10

2 .50

Strings distance from fretboard.

0.43

2 2.94 6.9

Electronics capability.

28 41.2 11.2 3.67

0.84

5 7.35 8.7

Quality of wood.

Protection of components.

0.53

8.3

3 4.41

68.0

10.0 0.60 2.30 20.0 1.0 8.0 1.0 4.0 0.50 0.10 0.40 20.0 0.10

100

14.7 0.88 3.38 29.4 1.47 11.7 1.47 5.89 0.73 0.15 0.58 29.4 0.15

Component Component Cost ($) Cost (%)

Value Analysis Matrix

Value Analysis Conclusion The analysis has highlighted the areas where innovation is most needed to conform more with the users needs by looking at the value of the functions of the guitar. It must be noted that the analysis does not offer the solution, only the area where a soultion may be needed. Areas in need of innovation are ; 1. How the guitar attaches to the strap 2. Volume control 3. Strings Vibrations 4. Tone Control 5. Guitars action 6. Protection of components.

(0.38) (0.38) (0.65) (0.48) (0.43) (0.53)

Function % 4.44 5.36 4.11 3.97 2.94 4.41

When discussing these areas for improvement consideration must be given to the reasons why these area are failing. Any design changes that are to be implemented must be considered alongside the other attributes of the guitar to make sure they are not conflicting each other. Individually the function percentage is low for each part, which gives scope for design that is not going to drastically alter the guitar. Looking at the Volume and tone control knobs these parts are not of great importance as both can be controlled externally by foot pedals or the amp the guitar is plugged into. The guitars action (distance of strings from fretboard) could be redesigned so that the user is able to calibrate this more effeciently. This change would mean slight redesign, however, would allow more styles to be played on the guitar. The quality of wood is the main contributor the price of the guitar with 41.2% of the guitar function devoted to it. Quite simply, without the wood a guitar cannot exist. With a function percentage that is high a reduction in the cost of the wood without loss of quality would be an area that would allow more profit to be obtained. The solution may be to change the wood supplier or to look for cheaper alternatives that do not compromise quality. In this instance as Baxter states the features â&#x20AC;&#x153;which are expensive to produce should make a large contribution to customer value.â&#x20AC;?, in the instance of the guitar this statement is true. In a company setting it may be a good idea for everybody in the team to be involved with the project to avoid biased opinions as to where the value of the components are applied.

Billy Joe Armstrong playing Fender Stratocaster 32

Function Modes and Effects Analysis Function Modes and Effects Analysis (FMEA) looks at mitigating failures in a product before it has been produced. Consideration to all aspects that may fail allows an increase in product functionality and user satisfaction. In this instance the Gretsch G5210 has been selected for analysis. By tracing the effects of component failures through sub-systems to system failures modes, the impact of possible failure modes at all levels can be assessed, and preventive or corrective meaures taken. (Molloy â&#x20AC;&#x2DC;98). Failure modes and Effects Analysis plays a key role in determining what prototyping is required for a product during its development. (Baxter â&#x20AC;&#x2DC;95). Steps to completing an FMEA analysis :

1. Product function analysis - Carried out on pages 21-24. For the FMEA level 2 & 3 will be used to identify the further information needed for the analysis.

2. Failure Modes identification - Using level 2 & 3 from the PFA possible reasons for failure of the individual functions are identified.

3. Cause of failure - Identify the causes of the possible failures discussed. 4. Occurrence of failure - Each failure is ranked as to its liklihood of failure. 5. Failure effects - Identification of the effects of the possibel failures and how it will affect the customer. 6. Failure severity - Ranking as to each of the failures severity and possible consequence for customer. 7. Design verification - The methods of detection that can be undertaken to ensure the failure can be identified. 8. Failure detection - Ranking of the liklihood of detection based on the ease of the detection method that has been outlined.

9. Risk Priority number - Severity Ranking x Occurrence Ranking x Detection Ranking. The summation of all the information calloected on product failure (Baxter, â&#x20AC;&#x2DC;95). The higher the RPN the more attention is required as the risk to the manufacturer is greater.

10. Recommended action - Actions that be undertaken before a product goes to market to ensure the discussed failures are mitigated. In steps 4, 6 and 8 when ranking is required. The scale used will be 1-10 with 1 being the lowest liklihood and 10 being the highest. The FMEA is an important tool as it allows design teams to increase their knowledge of what risks products could encounter and highlights how to avoid making mistakes during the design process. The FMEA ensures that no flaws are overlooked and the possible embarressment of product recall will never have to occur. This also gives a huge benefit to the company the designers are working for as a reputation for good quailty produce is obtained.

Figure 15 - FMEA Matrix

Pickups come loose from guitar fitting.

Pickups do not sense movement of strings.

Strap pegs could bend out of position.

Truss rod could break.

Strings do not fit in bridge groove.

Tuning pegs can not hold tension of strings.

Strings Break.

Failure Mode

Incorrect fitting tolerance.

9 8

Guitars sound is distorted.

Strings are unable to be struck properly.

7 3

Excessive playing. Unexpected impact.

Guitars sound is distorted.

Electronics not connected properly.

Incorrect strap peg strength.

Unexpected impact.

Incorrect rod strength.

3 3 3 3

User Testing : Simulate playing.

144

336

108

2 6

225

350

225

108

135

User Testing : Simulate playing.

Testing : Test various tolerances to view best fit.

User Testing : Simulate how positioning of pickups are affected by prolonged playing. Quality Contol : Ensure workings do not move over time.

Testing : Apply forces to understand defects. User Testing : Simulate use to see why peg defect occurs.

3 2

108

120 210 108 210

Detection 4

RPN

Testing : Rod Strength and material properties.

Testing : Apply forces to understand defects.

Unexpected impact.

Quality Control : Simulate use and observe bridge over time.

Quality Control : Measure string and bridge distance.

Testing : Diameter of strings.

Bridge may become loose. Tolerance too large.

Testing : Apply tensional forces

Testing : Tuning pegs tightness.

3 5

Testing : Usage simulation

Testing : Apply tensional forces

Testing : Usage simulation

4 7 4 7 Testing : Apply tensional forces

Detection Method

Incorrect tolerance between bridge and strings.

Incorrect strings used.

Excessive bending of strings Wear and tear. Excessive bending of strings. Wear and tear. Incorrect tuning peg friction. Tolerance too large. Excessive bending of strings.

Cause

Occurance

Guitar does not produce sound.

Neck could bend out of shape. Strings would not stay to correct tension. Strap cannot be attached to guitar. Guitar cannot be held properly.

Strings de-tune during playing.

Correct distance between strings is not maintained. Strings do not stay fiited to guitar.

Guitar cannot be played.

If one string breaks certain notes and chords cannot be played.

Severity

Effect

From observations make design changes.

Make checks to ensure fasteningis correct. Check to make sure both pickups are manufactured accurately and body has correct tolerances for fitting.

Change positioning, possibly protect more with altered design.

From observations make design changes.

Increase durability of materials.

Carry out stress tests on metal, ensuring stength is adequate.

Increase durability of materials.

From observations make design changes.

Increase tolerances and number of checks.

Test diameter of strings.

Flex to accomodate bending of strings.

Ensure pegs are tightly secured.

Increase strength/allow for easy change of broken strings.

Recommended Action

FMEA Matrix

Figure 16 - FMEA Matrix

Notes sounding incorrect.

Strings cannot be depressed comfortably.

Neck could snap off.

Tremolo arm could cause bridge to become loose.

Inner electronics could fail.

Guitar does not work properly.

Notes cannot be bent correctly. Aesthetics of guitar are damaged. 10

8 5 7

Incorrect gluing/screwing of neck to body. Unexpected impact.

2 6 7

280

4 User Testing : Interaction.

100

Quality Control : Check quality of fixtures.

144

180 108 108 210

120

105

100

6 3 6

105

192

120

210

User Testing : Interaction.

Quality Control : Check fittings.

User Testing : Interaction.

Quality Control : Check standard of connections. Quality Control : Check fitting.

6 6

User Testing : See how user treats guitar.

Misuse by user.

Excessive use of arm.

Bridge not secured correctly.

Misuse by user.

Electronics not soldered correctly. Incorrectly secured.

Wear and Tear

3 10

Incorrect surface finish.

Quality Control : Check finish on back of neck.

Quality Control : Check finish on body.

Incorrect surface finish.

User Testing : See how user treats guitar.

Testing : Simulate use and view wear and tear. Review material.

Fret markers made of material that is too soft.

Detection

Quality Control : Check finish on front of neck.

Testing : Ease of jack input.

Quality Control : Viewing angles at which lead is input.

Detection Method

Unexpected impact.

Occurance

Incorrect finish on neck.

Jack not secured in properly.

Excessive plugging and unplugging of lead.

Cause

Any sound produced is inconsistant.

No sound is produced.

Neck could become worn due to playing.

Output lead is unable to be connected.

Guitar does not play as smoothly. Aesthetics of guitar are damaged.

No sound is produced.

Effect

Aesthetics of guitar are damaged.

Severity

Paintwork could get damaged.

Fret markers wear down meaning string depression is incorrect.

Output jack steel plate becomes loose.

Failure Mode

RPN Make sure screws are tight to avoid falling apart when being used.

Ensure sufficient glue is apply in sticking process.

Design to mitigate human error.

Re-design bridge to increase strength.

Check fixture of electronics.

Design to mitigate human error.

Check fixture of electronics.

Test connections and play guitar to test properly.

View grain of wood and make sure it is high quality.

Surface test to make sure even finish is applied.

Ensure highest quality of wood.

From observations make design changes. Apply durable finish.

Surface test to make sure even finish is applied.

Check tolerance of input hole.

From observations make design changes.

Recommended Action

Failures Modes & Effects Analysis Conclusion From the matrix the areas of most importance when desiging the guitar are highlighted. The top 5 in need of attention are as follows :

Pickups not sensing the sound - 350 Pickups coming loose from excessive playing - 336 Neck could snap off - 280 Strings not fitting securely in the bridge, due to the bridge moving out of position - 225 Strings breaking - 210 The results show failures that will mostly be down to the user interation with the product. However design of the product must be such that even if the user is to misuse function can still occur (even if at a lessened quality). In the case of the guitar the severity ratings are high for the functions of the product must be performed. A guitar with no strings and no functioning electronics is useless. In the case of the Pickups not sensing sound this is something than can happen by the guitar being played and swung around. If the magnetic pick ups move out of line with the strings the sound quality is greatly dimished and possibly inaudible. The security of the pickups are the most important. However, they must not be secured so much that they can not be changed if desired by the user. The neck snapping of is an extreme scenario but certainly one that cannot be overlooked. The correct gluing and securing of the neck to the body is crucial for product function and durability. The strings breaking is also at high risk of failure. The obvious solution is to make them thicker, however in the case of guitars this leads to different playability and tones available. Lighter strings are used for faster playing and therefore more prone to breaking. It is somewhat accepted that the strings at some point will need to be replaced so replacements are always available. Perhaps, the more important design is to ensure the the strings are easy to change and once on are secure in the correct position. FMEA is most effective when being used by a design team. Much like the other tools used, if failures are overlooked an FMEA will not mitigate all possible circumstances of failure. The FMEA carried out is small in comparison to the extent that would be needed to fully analise all of the possible failures, but does give insight into the most important functions that would need attention if the product was to go to market.

New Product Development Tools Conclusion The various NPD tools undertaken have allowed insight into the various issues ascertaining to the develpoment of the electric guitar. Namely, the Fender Stratocaster and Gretsch G5210. The common attributes that each tool uses is that they take into account user feedback. This is critical to the production and success of re-designing particular elements of a product. The user-centered orientation allows for higher chance of success for companies as the voice of the customer is understand and echoed through the innovation process and into the product. The Quality function analysis looked at streamlining the voice of customer into design requirements. With the HOQ allowing for the clarification of the data. The QFD in the case of the Gretsch guitar determined improvements in electronics, colours & finishes, customisational parts, weight and cost. Incremental changes of any of these attributes would allow for increased product profitability. The Product function analysis carried out on the Fender Stratocaster allowed for function of the product to be identified and the most likely areas for innovation to take place. The FAST chart clarified the areas where incremetal changes and radical changes can take place. The innovation that arose were accessories allowing digital sound production to be included. The Value analysis discussed the areas of product function where innovation is most likely to take place after identifying the value of various functions according to user research. The results suggest that the wood is the most expensive and important part for correct function. It was concluded that a material alternative offering the same quality may be the best area for development. The Failure Modes and Effects analysis highlighted the possible failures of the guitar and aimed to give rise to ways in which the failures can be avoided. The main analysis concluded that the areas of most importance were ensuring the pickups function properly and the guitar parts are as durable as possible. The ways the tools have been used in the report only skim the surface of the complexities of how they would be used in a company setting. The FMEA for example lists only 14 possible failures, this is a small amount in comparison to how many would be produced by a team of designs, engineers etc at a company level.

References Websites Fender Stratocaster Pricing (Accessed 2/2/10) http://www.guitarcenter.com/ Fender-American-Standard-HSS-Stratocaster-Electric-Guitar104818810-i1385896.gc Gibson Les Paul Pricing (Accessed 2/2/10) http://www.guitarcenter.com/Gibson-Les-Paul-Studio-Electric-Guitar-100010154-i1149139.gc Gretsch Guitar Pricing (Accessed 2/2/10) http://www.guitarcenter.com/Gretsch-Guitars-G5120-Limited-Edition-Electromatic-Hollowbody-ElectricGuitar-881310-i1471942.gc Ultimate Guitar 2006 Parts of electric guitar (Accessed 2/2/10) http://www.ultimate-guitar.com/lessons/for_beginners/parts_of_an_electric_guitar.html

Books Baxter, M., ‘95. Product Design: A Practical Guide to Systematic Methods of New Product Development. London: Chapman & Hall. Molloy, O ‘98 Design for Manufacturing and Assembly. London Chapman & Hall. ReVelle, J.B. ‘98. The QFD Handbook. New York: John Wiley & Sons Ulrich, K.T. ‘03 Product Design and development - Third edition. New York, McGraw & Hill

Lecture Notes Ariyatum, B., ‘10 IM Lecture 16 - Quality Fucntion Deployment (Accessed 6/2/10) Ariyatum, B., ‘10 IM Lecture 17 - Product Funstion Analysis (Accessed 8/2/10) Ariyatum, B., ‘10 IM Lecture 18 - Value Analysis (Accessed 11/2/10) Ariyatum, B., ‘10 IM Lecture 20 - FMEA Analysis (Accessed 13/2/10)

Appendix Guitar Requirement Questionnaire Thank you for taking the time to fill out this questionnaire regarding requirements of an electric guitar. This questionnaire has been undertaken as part of a QFD report designed for looking into the requirements of an electric guitar. In the boxes below are areas fro you to write what you think the most important requirements of an electric guitar are. 1. Write the requirements that you beleive electric guitars should have . 2. Rate the importance of each of the requirements you have outlined. 1 being the least necessary, 5 being the most. 3. Rate how well the these three guitars meet the requirement you have outlined. (Strat, Les Paul, Gretsch G5120). 1 being the least necessary, 5 being the most. Requirement :.................................................................................................................................................................................................................................................. .................................................................................................................................................................................................................................................................................... How well does the Fender Strat meet requirement? Importance of Requirement : How well does the Les Paul meet requirement?

How well does the Gretsch G5120 meet requirement?

Requirement :.................................................................................................................................................................................................................................................. .................................................................................................................................................................................................................................................................................... How well does the Fender Strat meet requirement? Importance of Requirement : How well does the Les Paul meet requirement?

How well does the Gretsch G5120 meet requirement?

Customer Statements Customer 1 Requirements (Requirements are arranged in order of importance)