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

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: 336
Joined: Sun May 01, 2016 7:26 pm
Location: Athens, Greece

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

Post by kertsopoulos » Fri Feb 03, 2017 10:17 am

Konstantinos Boulougaris interprets Danza Sousta by Dimitri Fampas, live in Athens, 29 Jan. 2011, on the guitar posted here above:

Youtube

User avatar
kertsopoulos
Posts: 336
Joined: Sun May 01, 2016 7:26 pm
Location: Athens, Greece

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

Post by kertsopoulos » Sat Feb 11, 2017 10:08 am

IMG_2255.JPG
detail 1.jpg
detail 4.jpg
sides of the guitar 2.jpg
detail 3.jpg
detail 2.jpg
Yorgos Kertsopoulos interprets "La Minona de Cataluna" by: Gaspar Sanz on a "Double Course Pedal Guitar". The instrument viewed on the video is originally a Spanish made six single string guitar and it has been modified/upgraded through re-construction by Yorgos to a "Double Course Pedal Guitar" conforming to "Kertsopoulos Aesthetics" acoustic standards in regard to double course sonority. String construction is by: Yorgos Kertsopoulos. [youtube]GX1U0ZJPjJ0&ab_channel=GEORGIOSKERTSOPOULOS[/youtube] [attachment=0]detail 5.jpg
You do not have the required permissions to view the files attached to this post.

User avatar
kertsopoulos
Posts: 336
Joined: Sun May 01, 2016 7:26 pm
Location: Athens, Greece

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

Post by kertsopoulos » Sun Feb 12, 2017 4:31 pm

Yorgos Kertsopoulos interprets "Passacalle de la Cavalleria de Napoles" by: Gaspar Sanz on a "Double Course Pedal Guitar". The instrument viewed on the video is originally a Spanish made six single string guitar and it has been modified/upgraded through re-construction by Yorgos to a "Double Course Pedal Guitar" conforming to "Kertsopoulos Aesthetics" acoustic standards in regard to double course sonority. String construction is by: Yorgos Kertsopoulos.

Youtube

User avatar
kertsopoulos
Posts: 336
Joined: Sun May 01, 2016 7:26 pm
Location: Athens, Greece

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

Post by kertsopoulos » Thu Feb 16, 2017 12:45 am

Coming up soon, a 6 string re-construction:
IMG_2088.JPG
IMG_2095.jpg
IMG_2109.jpg
IMG_2129.jpg
You do not have the required permissions to view the files attached to this post.

User avatar
kertsopoulos
Posts: 336
Joined: Sun May 01, 2016 7:26 pm
Location: Athens, Greece

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

Post by kertsopoulos » Thu Feb 16, 2017 7:38 pm

Soleares, composed and interpreted by Y. Kertsopoulos. The guitar viewed on the video is the traditional guitar shown here, upgraded acoustically by re-construction to "Kertsopoulos Aesthetics". String construction by: Y. Kertsopoulos.

Youtube

User avatar
kertsopoulos
Posts: 336
Joined: Sun May 01, 2016 7:26 pm
Location: Athens, Greece

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

Post by kertsopoulos » Fri Feb 17, 2017 4:42 pm

Traditional six string guitar upgraded by re-construction to Kertsopoulos Aesthetics.jpg
2-Traditional six string guitar upgraded by re-construction to Kertsopoulos Aesthetics.jpg
IMG_2092.jpg
IMG_2121.jpg
IMG_2099.jpg
You do not have the required permissions to view the files attached to this post.

powderedtoastman
Posts: 295
Joined: Sat Feb 20, 2016 1:15 am
Location: Sunnyvale, CA

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

Post by powderedtoastman » Fri Feb 17, 2017 8:57 pm

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.

User avatar
kertsopoulos
Posts: 336
Joined: Sun May 01, 2016 7:26 pm
Location: Athens, Greece

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

Post by kertsopoulos » Fri Feb 17, 2017 10:26 pm

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.
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
Kertsopoulos classical guitar construction 2.jpg
Also, below is Smaro Gregoriadou interpreting on this specific instrument:

Youtube
You do not have the required permissions to view the files attached to this post.

User avatar
kertsopoulos
Posts: 336
Joined: Sun May 01, 2016 7:26 pm
Location: Athens, Greece

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

Post by kertsopoulos » Sat Feb 18, 2017 6:58 pm

Each guitar that is re-constructed possesses a "Kertsopoulos right arm pedal effect construction" located right underneath the soundboard area where the right arm of the guitarist rests. As the guitarist smoothly lifts the arm and opens the holes that before were closed by the resting of the arm on them, pedal effects are produced and according to the movement and to the extent of opening the holes differentiations of the effects occur. The opposite pedal effects are produced when the holes are open when the strings are played and smoothly or suddenly the arm rests on the holes and closes them. For each guitar re-constructed there is a different design on the construction of the pedal depending on the guitar's tuning resonances and fine intonation required. Right below are posted four different designs of the "Kertsopoulos right arm pedal effect construction" and soon will be posted another four and one can notice that each one has the desired unique design. Smaro Gregoriadou interprets on the video posted, using pedal effects on all her interpretations since she plays guitars of my own construction, which all possess pedal effects and here she interprets the 1928 SCHOTT/Segovia version of Thème varié et finale by Manuel Ponce (1882-1948). She plays the guitar posted already above possessing a pedal effect and she can be viewed on how she lifts her right arm every time she uses the pedal effect. One can easily she how she uses the pedal effect with her right arm and also hear the effect produced on the interpretation.
GUITAR PEDAL 1 KERTSOPOULOS.jpg
GUITAR PEDAL 2 KERTSOPOULOS.jpg
GUITAR PEDAL 3 KERTSOPOULOS.jpg
GUITAR PEDAL 4 KERTSOPOULOS.jpg

Youtube
You do not have the required permissions to view the files attached to this post.

powderedtoastman
Posts: 295
Joined: Sat Feb 20, 2016 1:15 am
Location: Sunnyvale, CA

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

Post by powderedtoastman » Sat Feb 18, 2017 7:44 pm

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.

User avatar
kertsopoulos
Posts: 336
Joined: Sun May 01, 2016 7:26 pm
Location: Athens, Greece

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

Post by kertsopoulos » Sun Feb 19, 2017 10:34 am

powderedtoastman 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.
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, Yorgos
GUITAR PEDAL 5 KERTSOPOULOS.jpg
GUITAR PEDAL 6 KERTSOPOULOS.jpg
GUITAR PEDAL 7 KERTSOPOULOS.jpg
GUITAR PEDAL 8 KERTSOPOULOS.jpg
You do not have the required permissions to view the files attached to this post.

User avatar
kertsopoulos
Posts: 336
Joined: Sun May 01, 2016 7:26 pm
Location: Athens, Greece

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

Post by kertsopoulos » Tue Feb 21, 2017 9:02 pm

Different constructions of Headstock designs on traditional guitars upgraded by re-construction to "Kertsopoulos Aesthetics". Each unique design gives a unique acoustic contribution to the produced sound especially in the projection of the timber of the instrument.
RE-CONSTRUCTED HEADSTOCK TO KERTSOPOULOS AESTHETICS-4.jpg
RE-CONSTRUCTED HEADSTOCK TO KERTSOPOULOS AESTHETICS-7.JPG
RE-CONSTRUCTED HEADSTOCK TO KERTSOPOULOS AESTHETICS-13.JPG
RE-CONSTRUCTED HEADSTOCK TO KERTSOPOULOS AESTHETICS-14.JPG
RE-CONSTRUCTED HEADSTOCK TO KERTSOPOULOS AESTHETICS-16.JPG
RE-CONSTRUCTED HEADSTOCK TO KERTSOPOULOS AESTHETICS-2.JPG
Each unique design gives a unique acoustic contribution to the produced sound especially in the projection of the timber of the instrument.
RE-CONSTRUCTED HEADSTOCK TO KERTSOPOULOS AESTHETICS-12.JPG
You do not have the required permissions to view the files attached to this post.

Davelang

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

Post by Davelang » Sat Mar 04, 2017 3:31 pm

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?

User avatar
kertsopoulos
Posts: 336
Joined: Sun May 01, 2016 7:26 pm
Location: Athens, Greece

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

Post by kertsopoulos » Sat Mar 04, 2017 6:48 pm

Right below is Smaro Gregoriadou interpreting Marathonas (full version) by Y.Kertsopoulos in a double-course guitar tuned in octaves. The guitar was a traditional six string guitar and upgraded by re-construction to a double course of "Kertsopoulos Aesthetics*. Live concert in Athens (Nakas Concert Hall, 22/3/96).

Youtube

User avatar
kertsopoulos
Posts: 336
Joined: Sun May 01, 2016 7:26 pm
Location: Athens, Greece

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

Post by kertsopoulos » Mon Mar 06, 2017 1:37 pm

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
THE KERTSOPOULOS RIGHT ARM PEDAL EFFECTS CONSTRUCTION DETAIL.jpg
KERTSOPOULOS SOUNDHOLES AT THE TOP AND SIDE-GOLPE BRONZE.jpg
You do not have the required permissions to view the files attached to this post.

Return to “Members' Announcements”