Thank you powderedtoastman for your kind comment. Yes, all the guitars that Smaro Gregoriadou interprets with in her concerts and her recordings with DELOS and on her internet videos interpretations are of my construction, including the strings that produce different tunings ranging from: Open Strings= -3 to +12 fret tuning. The difference is that all the guitars Smaro plays are of my construction 100% from the begining to the end of construction, they are not re-constructions. The guitars posted in this specific topic are all traditional guitars constructed mainly from Spanish luthiers and they have been acoustically upgraded by re-construction to my constructional standards. So, much of the ornamentation done on the re-constructed guitars of this topic resemble the ornamentation of my own constructed guitars because this ornamentation has acoustical functions by fine tuning the intonation of all the frequencies of the harmonic spectrum of the instrument. So, any ornamentation whatsoever that you see has a primary and main function to enhance the acoustical performance of the instrument and on a secondary priority it is made in such a manner as to have an aesthetic appeal to the eyes. However, none of the details of any ornamentation are done for aesthetic reasons but only for the acoustical necessity in the performance of the guitar. I include here some detail photos of the guitar Smaro played with in the concert and the master class you went to, so you can have an idea of the similarities involved in the ornamentation. If you have any questions I will be happy to answer and thanks again. Best regards, Yorgos Also, below is Smaro Gregoriadou interpreting on this specific instrument:powderedtoastman wrote:Very interesting! A couple months ago our local guitar society had a concert by Smaro Gregoriadou from Greece, and her guitar had a bit of ornamentation that looked a lot like this. I meant to ask her about it during Q&A opportunity at the master class the next day but it slipped my mind.
You are welcome powderedtoastman. I am happy that you enjoyed the concert of Smaro and the way she sounded with her "Right arm pedal effects guitar". As I wrote in my previous post please find below another four different designs of "Right arm pedal effects constructions" as they have been constructed on re-constructed guitars. Best regards, Yorgospowderedtoastman wrote:Thanks for the detailed info! I was very curious when she performed here. She gave an excellent program and sounded very nice, I would say on the brilliant side overall and a bit brighter tone than many of the performers we see, which fit with the music perfectly.
Hi David and thanks for your kind comment. The answer is yes, but NOT ONLY by venting the top. I work through the soundhole subtracting wood in specific areas of the top from the inside, the back and the sides by scraping and sanding accordingly, so I change in this way the vibrating areas intonation of the frequency response of the areas. Additionally I add small plates, bracing or strutting at the top, the back and the sides, changing in this way again the intonation frequencies of the wood surface areas. This takes a lot of time in tapping the wood areas and listening to the responses and checking them out also with energizing frequencies, with different methods. Afterwards comes the "right arm pedal effects" mechanism where sandwich wood plates from the outside and the inside are glued to the top's area at the right arm location and holes are drilled and tapered accordingly, at different sizes and at different angles of tapering so, there is a different projection of sound direction for the wave travelling from the inside to the outside of the instrument. The instrument is again checked out and intonated accordingly because all the frequency responses have been changed by the construction of the pedal so re-adjustments have to be made from the inside of the guitar. The bridge and the upper bout drilled holes come after and the design of the outside of the guitar's dressing with all the material that I use for dressing the bridge, the upper bout holes and also the golpe area and the area underneath the bridge. This material is including very fine powdered material from bronze, copper and gold applied with specific methods I have invented that provide extremely useful acoustic energy to the frequency responses. According to the material used the spectrum of the harmonic frequencies is influenced. The same applies when this material is used in the headstock or the upper bout sound hole on the side of the instrument. So, my application involves in general all the above stages and of course I would like to warn the following: if someone wants to upgrade an instrument, he/she must have a very specific plan and idea for every move that he/she is going to do on the instrument. Otherwise, the result might be extremely negative. This means that when one upgrades an instrument by re-construction, there is no space for experimentation. We do not experiment on a finished instrument if we want to re-construct it. We must know exactly what we want to do, otherwise the result will be really dissapointing. Best regards, YorgosDavelang wrote:When rebuilding for the Kertsopoulos aesthetic do you have a specific goal in mind acoustically i.e. Major, neutral or minor disposition? Most builders do this by top, bracing variations. You seem to be accomplishing this by "venting the top". Yes?
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