Davelang 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?
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, Yorgos
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