The "Kertsopoulos guitar support-amplifier version: Superior"

Under this heading you can announce your own events and work products, including the publications of books, magazines, sheet music, CDs, videos, guitars you build, professional events like shows, training courses, festivals and competitions. Any member of the forum who wishes, may open a thread in this forum (but only one) using his/her name for the promotion of their efforts without limitation on the number of posts.
User avatar
kertsopoulos
Posts: 220
Joined: Sun May 01, 2016 7:26 pm
Location: Athens, Greece

The "Kertsopoulos guitar support-amplifier version: Superior"

Post by kertsopoulos » Sat Oct 29, 2016 7:42 pm

Supporting and amplifying at the same time any guitar's sound.Designed and constructed as an acoustic/amplifying instrument.
Your feedback will be appreciated.

Youtube

User avatar
pima1234
Posts: 244
Joined: Fri Apr 15, 2016 4:45 am
Location: Fenton, Michigan

Re: The "Kertsopoulos guitar support-amplifier version: Superior"

Post by pima1234 » Sat Oct 29, 2016 11:20 pm

Image

In all seriousness, this makes sense, and is very interesting. I recall hearing Paul Galbraith live, thinking that his solution is pretty brilliant.
What can this strange device be?
When I touch it, it gives forth a sound
It's got wires that vibrate and give music
What can this thing be that I found?

User avatar
petermc61
Posts: 5718
Joined: Sun Apr 08, 2012 12:11 am
Location: Sydney, Australia

Re: The "Kertsopoulos guitar support-amplifier version: Superior"

Post by petermc61 » Sat Oct 29, 2016 11:24 pm

Some innovative thinking. My question concerns the support changing the character of the instrument if it has a different resonating character to the soundboard (which it must).

How did you factor that in?

User avatar
bacsidoan
Posts: 2270
Joined: Sun May 10, 2009 1:59 am

Re: The "Kertsopoulos guitar support-amplifier version: Superior"

Post by bacsidoan » Sat Oct 29, 2016 11:35 pm

Very innovative thinking indeed. What is your solution to prevent marring the finish of the guitar without decreasing the sound transmission to the "amplifier"?

User avatar
Justfun
Posts: 786
Joined: Fri Jul 12, 2013 7:58 pm
Location: New York Queens

Re: The "Kertsopoulos guitar support-amplifier version: Superior"

Post by Justfun » Sat Oct 29, 2016 11:43 pm

I like it very much, I think it has a lot of potential.
Richard Reynoso, Cypress \ Spruce 2016
Lozano Spruce 2001
Inofuentes 1997

User avatar
kertsopoulos
Posts: 220
Joined: Sun May 01, 2016 7:26 pm
Location: Athens, Greece

Re: The "Kertsopoulos guitar support-amplifier version: Superior"

Post by kertsopoulos » Tue Nov 01, 2016 5:23 pm

pima1234 wrote:Image

In all seriousness, this makes sense, and is very interesting. I recall hearing Paul Galbraith live, thinking that his solution is pretty brilliant.
Thank you pima1234 for your kind comment. Paul Galbraith had visited my studio in Athens some years ago and he played fantastically trying out also my "Pneumatic foot pedal guitar" and other instruments as well and we really had a great time together with my students, who enjoyed very much his excellent intrpretation. All best to you.

User avatar
kertsopoulos
Posts: 220
Joined: Sun May 01, 2016 7:26 pm
Location: Athens, Greece

Re: The "Kertsopoulos guitar support-amplifier version: Superior"

Post by kertsopoulos » Tue Nov 01, 2016 5:53 pm

petermc61 wrote:Some innovative thinking. My question concerns the support changing the character of the instrument if it has a different resonating character to the soundboard (which it must).

How did you factor that in?
Thank you petermc61 for your kind comment. Concerning your important question, the character of any instrument using the support-amplifier does not in any way change whatsoever. The support-amplifier is fine-tuned to have sympathetic frequency response behavior that amplifies every frequency of the harmonic spectrum evenly and in a balanced manner, without interfering in any manner with the input waves that are transmitted to it by the guitar's body (sides, with which it has contact). So, as an output it amplifies whatever it accepts as an input, without changing the character of the guitar's sound. Please take in account that the guitar does have resonating frequencies of the soundboard, but the overall character of the emmited sound is the combination of these soundboard resonating frequencies with the back's and sides, neck, fretboard and headstock resonating frequencies as well as the primary and secondary Hemholtz resonance frequencies of the air cavities of the inside of the guitar. The combination of all these frequencies produce the final character of the guitar's sound and these have to work in harmony with all resonant frequencies of the support-amplifier's overall frequencies, combined with its air cavity Helmholtz resonance frequency, which however, these do not come in conflict with any of the guitar's because they are of another range by themselves. This subject is the key for the acoustical success of the support as a successful amplifier. If this fine tuning of the support-amplifier is not constructed successfully to provide balanced aplification with neutrality in coloration of character (no-interference to the character of sound but only neutral amplification), the support would become or can become a failure and undesirable for use. Please, view the video and notice in the tests being done how the conventional guitar played sounds without the support-amplifier and how it sounds amplified when the support-amplifier is used. You will notice that no change in character has been occured. More over, while the sound is amplified with no change in character, we have more dynamic range in our interpretational capabilities and there are evident separated voices with more perspective in the different sound productions in melodic and harmonic by-passes of the harmonic spectrum of the sounds. So, the support-amplifier, amplifies and enhances, without changing the character of the sound itself, as long as the support-amplifier is fine-tuned in every frequency (absolute necessity). All best to you.
Last edited by kertsopoulos on Tue Nov 01, 2016 6:45 pm, edited 1 time in total.

User avatar
kertsopoulos
Posts: 220
Joined: Sun May 01, 2016 7:26 pm
Location: Athens, Greece

Re: The "Kertsopoulos guitar support-amplifier version: Superior"

Post by kertsopoulos » Tue Nov 01, 2016 6:36 pm

bacsidoan wrote:Very innovative thinking indeed. What is your solution to prevent marring the finish of the guitar without decreasing the sound transmission to the "amplifier"?
Thanks bacsidoan for your kind comment. To prevent marring the finish of the guitar and also the finish of the support-amplifier itself, which is wooden and varnished, specialized masking tape of good adhesion but especially made for varnished wooden surfaces is used, so, by taking the tape off, the varnish or shellac (on french polished instruments) stays untouched and in perfect condition. The tape is sticked at the sides and at the support-amplifier, at the lower bout of the guitar and at the upper bout of the guitar at two contact points in each bout and in adjacent places at the support-amplifier and on top of the tapes at the support-amplifier is sticked a two-sided adhesive tape. No tape is used at the waist because the waist of the guitar does not touch the support-amplifier (it is very important that the support-amplifier does not touch the guitar at it's waist, but only at the lower and the upper bout of the sides).When removing the support-amplifier from the guitar the two-sided tape which is strong adhesive tape does not do any damage to the surfaces because they are protected by the masking tape which if one wants is removed with ease from the guitar and also from the support-amplifier. Alternatively, two neodymium permanent magnets can be used, cylindrical formed 20X10 mm, one at the lower bout and one at the upper bout and the support-amplifier includes two neodymium 20X10 mm magnets inside at the points of contact with the guitar. The magnet construction is possible and feasible, however I personally prefer "the masking tape-two sided tape", because by having the tapes interfering with the direct contact of the wooden surfaces we obtain a very successful amlification with very objective and subjective acoustical results because the tapes behave as an acoustic insulator of even unwanted wolftones sometimes produced by guitars. So, although the support-amplifier amplifies the sound with no change in character of the sound, however, we can limit considerably the harshness and the unwanted wolftone effects by using the tapes, avoiding the direct contact. In the case of direct contact of the woods, the unwanted harshness and wolftone effects will not be filtered out, but will also be amplified with all other characteristics of the sound. In premium quality superior guitars, a warm vibrant result (with no change in character) is produced by the "masking tape-two sided paint" method. All best to you.

User avatar
kertsopoulos
Posts: 220
Joined: Sun May 01, 2016 7:26 pm
Location: Athens, Greece

Re: The "Kertsopoulos guitar support-amplifier version: Superior"

Post by kertsopoulos » Tue Nov 01, 2016 6:38 pm

Justfun wrote:I like it very much, I think it has a lot of potential.
Thank you Justfun for your kind comment and your important opinion. Wishing you the best!

User avatar
kertsopoulos
Posts: 220
Joined: Sun May 01, 2016 7:26 pm
Location: Athens, Greece

Re: The "Kertsopoulos guitar support-amplifier version: Superior"

Post by kertsopoulos » Tue Nov 01, 2016 7:04 pm

The "Kertsopoulos guitar support-amplifier" by: Y.Kertsopoulos

Youtube

The above video shows the "support-amplifier" in the "normal" version in contrast with the "Superior" version
already posted as first video. It is about half the size of the "Superior" but the amplification is
successful.

User avatar
pima1234
Posts: 244
Joined: Fri Apr 15, 2016 4:45 am
Location: Fenton, Michigan

Re: The "Kertsopoulos guitar support-amplifier version: Superior"

Post by pima1234 » Wed Nov 02, 2016 3:16 am

Do you have more information about your products?
What can this strange device be?
When I touch it, it gives forth a sound
It's got wires that vibrate and give music
What can this thing be that I found?

User avatar
kertsopoulos
Posts: 220
Joined: Sun May 01, 2016 7:26 pm
Location: Athens, Greece

Re: The "Kertsopoulos guitar support-amplifier version: Superior"

Post by kertsopoulos » Wed Nov 02, 2016 10:23 am

pima1234 wrote:Do you have more information about your products?
Thank you pima1234 for your interest in my work. For more info. as requested by you, please view below another support-amplifier attached to the double course guitar of my construction tuned in reentrant tuning where I interpret the John Anton Logy Suite in A minor. At the begining of the video you can view the exact tuning of the double courses. The strings used are also of my construction. Also for more info. on my work you can view the topic: "Pedal guitars, Mathematical Model of the Guitar, Strings, etc by:Y.Kertsopoulos" under the "Members Announcements" and the topic: "Oh my god, who designed this guitar?!" under "Our favorite websites". Especially for the strings in different tunings I am preparing an independent topic that I will post to present these. All best!

Youtube

User avatar
pima1234
Posts: 244
Joined: Fri Apr 15, 2016 4:45 am
Location: Fenton, Michigan

Re: The "Kertsopoulos guitar support-amplifier version: Superior"

Post by pima1234 » Thu Nov 03, 2016 2:55 am

Thank you.
What can this strange device be?
When I touch it, it gives forth a sound
It's got wires that vibrate and give music
What can this thing be that I found?

User avatar
kertsopoulos
Posts: 220
Joined: Sun May 01, 2016 7:26 pm
Location: Athens, Greece

Re: The "Kertsopoulos guitar support-amplifier version: Superior"

Post by kertsopoulos » Thu Nov 03, 2016 9:20 pm

The "Kertsopoulos support-amplifier" as used by Smaro Gregoriadou interpreting Temptation of the Renaissance: Aria, Variations and Dance by Stepan Rak (1945-). Pedal guitar in metallonylon trebles. Guitar/strings: KERTSOPOULOS AESTHETICS http://www.kertsopoulosaesthetics.blogspot.com.
Smaro is a recording artist of DELOS http://www.delosmus.com Video/audio recordings: AN-ART ARTISTRY http://www.an-art.com.

Youtube

User avatar
kertsopoulos
Posts: 220
Joined: Sun May 01, 2016 7:26 pm
Location: Athens, Greece

Re: The "Kertsopoulos guitar support-amplifier version: Superior"

Post by kertsopoulos » Sat Nov 05, 2016 6:24 pm

Smaro Gregoriadou interprets on another guitar but using the same "Kertsopoulos support-amplifier" as the previous video above. With this post one can compare the two videos with the two different guitars that use the same "support-amplifier" to observe the acoustic amplification it provides with all dynamic range alterations that are provided to the interpreter.

American composer-guitarist and pianist Sean Hickey (b. 1970) has composed a number of works (including symphonies, concertos, chamber music, pieces for solo instruments, orchestral music and a film score) that are frequently performed. Featured on Smaro Gregoriadou’s album “El Aleph” (DELOS 3490) is his Tango Grotesco (2001) about which he writes: “It is an extremely humble homage to one of the greatest of my fascinations: the music – particularly the art music – of Latin America. A two-bar falling phrase of sixteenth notes begins the piece before the tango rhythm – in a way a caricature of one – establishes itself in thick, strummed chords. A quasi-fugal mid-section departs from the key center before returning to the tango rhythm and progression before concluding in the briefest of codas.”
Instrument, string configurations: KERTSOPOULOS AESTHETICS http://www.kertsopoulosaesthetics.blogspot.com.
Smaro is a recording artist of DELOS http://www.delosmus.com and this composition is included in her cd "El Aleph" (DE 3490).
Video/audio production: AN-ART ARTISTRY http://www.an-art.com. Smaro Gregoriadou: Reinventing guitar! http://www.smarogregoriadou.com

Youtube

Return to “Members' Announcements”

Who is online

Users browsing this forum: CommonCrawl [Bot] and 0 guests