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.pima1234 wrote:
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 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.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?
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.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"?
Thank you Justfun for your kind comment and your important opinion. Wishing you the best!Justfun wrote:I like it very much, I think it has a lot of potential.
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!pima1234 wrote:Do you have more information about your products?
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