Guitars upgraded acoustically by re-construction to "Kertsopoulos Aesthetics"

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kertsopoulos
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Re: Guitars upgraded acoustically by re-construction to "Kertsopoulos Aesthetics"

Post by kertsopoulos » Fri Mar 24, 2017 10:16 am

KERTSOPOULOS RIGHT ARM PEDAL EFFECTS-BRONZE ACOUSTIC LAYER.jpg
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Re: Guitars upgraded acoustically by re-construction to "Kertsopoulos Aesthetics"

Post by kertsopoulos » Sat Apr 22, 2017 8:21 pm

1-TRADITIONAL SIX STRING GUITARS UPGRADED TO KERTSOPOULOS AESTHETICS-BEFORE VARNISH.jpg
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3-TRADITIONAL SIX STRING GUITARS UPGRADED TO KERTSOPOULOS AESTHETICS-BEFORE VARNISH.jpg
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Re: Guitars upgraded acoustically by re-construction to "Kertsopoulos Aesthetics"

Post by kertsopoulos » Sat May 06, 2017 8:50 pm

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Re: Guitars upgraded acoustically by re-construction to "Kertsopoulos Aesthetics"

Post by kertsopoulos » Sun May 07, 2017 12:17 pm

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Re: Guitars upgraded acoustically by re-construction to "Kertsopoulos Aesthetics"

Post by kertsopoulos » Mon May 15, 2017 3:40 pm

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Marshall Dixon
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Re: Guitars upgraded acoustically by re-construction to "Kertsopoulos Aesthetics"

Post by Marshall Dixon » Tue May 16, 2017 2:15 am

kertsopoulos wrote:
Mon May 15, 2017 3:40 pm
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I notice the different bridge design on these two guitars. It appears that on one, the wings are nearly twice as thick as the other.

My question is: do you aim for a certain rigidity/flexibility in your approach. Is weight a factor?

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Re: Guitars upgraded acoustically by re-construction to "Kertsopoulos Aesthetics"

Post by kertsopoulos » Tue May 16, 2017 10:09 am

Marshall Dixon wrote:
Tue May 16, 2017 2:15 am
kertsopoulos wrote:
Mon May 15, 2017 3:40 pm
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I notice the different bridge design on these two guitars. It appears that on one, the wings are nearly twice as thick as the other.

My question is: do you aim for a certain rigidity/flexibility in your approach. Is weight a factor?
Hi Marshall, thank you for your comment. Yes, weight is a critical factor and the thickness of the wings do play a great role in the dynamic behavior of the vibrational movement but also in the intonation of the tapping tone in all areas of the soundboard, starting of course from the sensitive area surrounding the bridge in an elliptical manner. Let's keep in mind that an ellipse has two centers contrary to a circle that has one center.Also, on the thin wings bridge you will notice that there are 12 sound holes penetrating the soundboard and the treble wing has the 6 holes to be larger in diameter in relation to the bass side of the bridge. The specific guitar is upgraded to a double course guitar that will possess two strings per course tuned in octave difference in between them and in some tuning variations with two octave differences especially in the basses in re-entrant tuning. So, the design of the bridge enhances this performance of the instrument as a double course, contrary to the other instrument with the thicker bridge wings that performs as a six string guitar. We should also consider that my bridge designs are enhanced by the two feet in front of the bridge that are glued to the soundboard and the front side of the bridge and although are separate, are also connected by a thin wood on top of them which bridges the two feet and this thin wood is also glued to the front part of the bridge. Additionally, the thin wooden strips in front of each bridge and also at the back of each bridge, are eventually glued to the soundboard and also to the bridge. The whole system is acting as a stiffener of the kinetic vibrational movement of the brdge in forcing it not to vibrate back and forth in relation to the torque forces imposed by the strings but to impose to the bridge to vibrate as much as possible up and down limiting immensely the back and forth vibrational movement. This adds a lot of volume and substance to the attack of the note and also warm timbre and longer sustain. The whole design of the bridge system in this way also makes a very effective distribution of the string's vibrations to the sensitive areas of the soundboard, as soon as the string starts to vibrate the vibrations are immediately distributed to the areas filtered out by the specific wooden qualities of the different woods used in the construction. So, all these constructions built around the bridge itself, 1) act of course, as stiffeners (to the back and forth vibrational movement of the bridge, restricting it) and 2) enhancers of the up and down vibrational movement of the bridge and 3) also, as vibrational distributors so they distribute evenly and immediately the bridge's kinetic vibrations to a large area and 4) also, act as intonators in the tone production of all tapping areas and 5) as controllers of the relation that exists between the tapping tone areas intonation and the primary and secondary Helmholtz resonances produced by the acoustic chamber. In short, these are also co-ordinated with the right hand pedal that plays an extremely significant role in intonation of all frequencies of the instrument. If one questions the restriction of the back and forth movement of the bridge's vibration claiming that: this is restricting the vibration of the soundboard itself, the answer is: no, contrary to this, it does not restrict the vibration of the soundboard, but enhances it. The sounboard must vibrate up and down and once the back and forth movement of the bridge is restricted immensely, then the bridge is forced to vibrate evenly and in a balanced manner up and down, forcing the soundboard to vibrate evenly and balanced and prolonged in an up and down correct vibrational dynamic-kinetic manner. It is a principle of physics, that if a medium like a guitar bridge performs two kinetic vibrations in two directions: a) back and forth because of the torque imposed by the string's tension and b) up and down because the bridge is a part of a greater soundboard medium that is glued upon, than this slows down immensely the vibration of the bridge and in conjuction the soundboard forcing the vibration to cease as fast as possible. If the vibration ceases because of uneven and unbalanced vibrational behavior, the sustain of the instrument plus the attack on the note are affected negatively, the instrument performing a fast dying sustain and a poor attack in volume and timbre. The more the vibration occurs in one direction only (in our case up and down) the more the vibration is even, balanced and also prolonged. Hope to have covered some of your questions, it will be a pleasure to explain more if needed. Wishing you the best in your work, cheers, Yorgos

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Re: Guitars upgraded acoustically by re-construction to "Kertsopoulos Aesthetics"

Post by simonm » Tue May 16, 2017 11:34 am

powderedtoastman wrote:
Fri Feb 17, 2017 8:57 pm
...Smaro Gregoriadou…
I had never heard of her before. I have just spent an enjoyable half hour listening to her on you tube. This is very nice: https://www.youtube.com/watch?v=nipNkIo8Qzs (Her arrangement of BWV 1007). Here https://www.youtube.com/watch?v=Wu2nwGKgKeI she plays the Sarabande by itself on a 1962 Fleta at GSI if anyone wants to compare the sounds. There is a quite a contrast in the way she plays it using each instrument's potential quite differently.

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Re: Guitars upgraded acoustically by re-construction to "Kertsopoulos Aesthetics"

Post by Marshall Dixon » Tue May 16, 2017 2:40 pm

kertsopoulos wrote:
Tue May 16, 2017 10:09 am


Hope to have covered some of your questions, it will be a pleasure to explain more if needed. Wishing you the best in your work, cheers, Yorgos
Thank you so much for your explanations. I had never envisioned the bridge as an elliptical radiator with two centers.

Taking part of what you said, my understanding is that stiffening the areas in front of the wings will channel the energy of the string in a more up and down motion, while also contributing to the immediacy of sound radiation.

Can I assume that the shape of these plates are related to the areas of vibration? Do you consider Chladni patterns in their placement?

Do you have a way to determine the stiffness of the bridge and a target measurement?

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Re: Guitars upgraded acoustically by re-construction to "Kertsopoulos Aesthetics"

Post by kertsopoulos » Tue May 16, 2017 4:16 pm

Marshall Dixon wrote:
Tue May 16, 2017 2:40 pm
kertsopoulos wrote:
Tue May 16, 2017 10:09 am


Hope to have covered some of your questions, it will be a pleasure to explain more if needed. Wishing you the best in your work, cheers, Yorgos
Thank you so much for your explanations. I had never envisioned the bridge as an elliptical radiator with two centers.

Taking part of what you said, my understanding is that stiffening the areas in front of the wings will channel the energy of the string in a more up and down motion, while also contributing to the immediacy of sound radiation.

Can I assume that the shape of these plates are related to the areas of vibration? Do you consider Chladni patterns in their placement?

Do you have a way to determine the stiffness of the bridge and a target measurement?
You are welcome Marshall and I would like to thank you also for your useful and well placed comments.

As you correctly write ...by stiffening the areas in front of the wings ...and the middle body of the bridge as well, will channel the energy of the bridge itself (not the string's energy) in a more up and down motion. We are restricting the back and forth motion of the whole bridge and therefore we enhance the up and down motion of the bridge (not the string's), which in turn gives this up and down motion to the soundboard. After all the soundboard vibrates up and down in Chladni patterns and modes and does not vibrate back and forth, so, the back and forth vibrational movement of the bridge resulting from the torque forces imposed by the tuned strings does not do any good whatsoever to the vibrations and the more we limit it in an acoustical manner that will respect the kinetic principles of vibration, the best for a balanced outcome.

And yes also, as you correctly write:...while also contributing to the immediacy of sound radiation. Yes, the whole design of my plates around the bridge area serve also the purpose of immediate sound radiation and distribution. We have to take in consideration that measurements taken from many vibrating soundboards in Fourier analysis (in experiments being made) have shown that sound waves traveling within the spruce or cedar soundboards have an average speed of 15 times faster along the grain of the wood, contrary to the sound waves travelling in a vertical direction to the grain of the wood. This factor is independent of course from Chladni patterns.

The shape of my plates does not take Chladni patterns into consideration for their placement or their specific design. Chladni patterns will occur anyway you design or place the plates, but Chladni patterns will be prolonged to give a prolonged sustain (in even and balanced vbrational behavior) or will immediately or soon die away and give a bad sustain (in an uneven and unbalanced vibrational behavior), according to the constructional behavior of the bridge, in the way we have already described it. Please notice that my plates are made up of many different fillets and solid acoustical wood of different quality that add up to provide different speeds to the sound waves running through these woods, adding up also, to the color of the timbre of the sound.

So. these plates are related to the areas of vibration of the bridge itself and of the area surrounding the bridge in which they cover, in a dynamic-kinetic manner and in an intonational manner because they greatly affect the tapping tone of the specific areas they influence and in turn influence the relation of the tapping area tones in regard to the primary and secondary Helmholtz resonances. Everything we do in a small area of the soundboard, influences all other factors that are involved even in far away places not seeming to interact with our initial small area. Everything and each element is directly or indirectly inter-connected with every other element and that is how we must work with our guitar, respecting fully the "theory of chaos" and the recent findings of the quantum theory that confirm that all elements in nature are inter-connected.

Instead of having an instrument and a target measurement for the stiffness of the bridge, I hear and tap and use many other methods that give me the topical area stiffnesses and the general-overall stiffness that is extremely unique for each instrument making it impossible to have a target measurement, because each instrument is a whole world by itself so unique and so different from any other instrument. Let me give you, however, a stiffness general rule: 1) the basses range of frequencies like very much the word "flexibility" 2) the middle voices range (from the lower to the higher) like very much the phrase "flexibility-stiffness" and the high voices range of frequencies like very much the word "stiffness". Accordingly, we have to determine in the stiffness design of the bridge area a three fold "stiffness design target". In the bass area: more flexible, in the middle area of the soundboard-bridge area: flexible at the bass border and stiffness at the treble border area and in the treble area: more stiffness. These steps give a variable stiffness factor to the whole bridge design well equipped to serve the needs of the different frequencies produced. Hope to have helped, cheers, all best, Yorgos

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Re: Guitars upgraded acoustically by re-construction to "Kertsopoulos Aesthetics"

Post by Marshall Dixon » Thu May 18, 2017 4:24 am

kertsopoulos wrote:
Tue May 16, 2017 4:16 pm

Accordingly, we have to determine in the stiffness design of the bridge area a three fold "stiffness design target". In the bass area: more flexible, in the middle area of the soundboard-bridge area: flexible at the bass border and stiffness at the treble border area and in the treble area: more stiffness. These steps give a variable stiffness factor to the whole bridge design well equipped to serve the needs of the different frequencies produced. Hope to have helped, cheers, all best, Yorgos
Yorgos, once again thanks for taking the time to explain. I am in the process of putting a bridge on my latest guitar and giving a lot of thought to applying what you've said.

Marshall

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Re: Guitars upgraded acoustically by re-construction to "Kertsopoulos Aesthetics"

Post by kertsopoulos » Thu May 18, 2017 9:19 am

Marshall Dixon wrote:
Thu May 18, 2017 4:24 am
kertsopoulos wrote:
Tue May 16, 2017 4:16 pm

Accordingly, we have to determine in the stiffness design of the bridge area a three fold "stiffness design target". In the bass area: more flexible, in the middle area of the soundboard-bridge area: flexible at the bass border and stiffness at the treble border area and in the treble area: more stiffness. These steps give a variable stiffness factor to the whole bridge design well equipped to serve the needs of the different frequencies produced. Hope to have helped, cheers, all best, Yorgos
Yorgos, once again thanks for taking the time to explain. I am in the process of putting a bridge on my latest guitar and giving a lot of thought to applying what you've said.

Marshall
You are welcome Marshall, I wish you the best with your construction, all best, cheers,

Yorgos

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Re: Guitars upgraded acoustically by re-construction to "Kertsopoulos Aesthetics"

Post by kertsopoulos » Sat May 20, 2017 1:03 pm

Varnishing of back, sides and neck on three upgraded guitars:
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Re: Guitars upgraded acoustically by re-construction to "Kertsopoulos Aesthetics"

Post by kertsopoulos » Wed May 31, 2017 2:32 pm

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Re: Guitars upgraded acoustically by re-construction to "Kertsopoulos Aesthetics"

Post by kertsopoulos » Fri Jun 02, 2017 4:14 pm

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