Yorgos Kertsopoulos performs using his innovation guitar support -amplifier version: "Superior" and two passive guitar's acoustical Timbre-Tone Equalizing Amplifiers "small" version, all attached on the double course guitar amplifying and equalizing the sound. Measurements have been taken and graphs are presented of SPL (db-dbA) meter, first measuring the room's threshold environment with no sound whatsoever (ambient sound) at 33db. Then, measurement of the guitar's sound one meter away from the SPL meter, without the amplifiers-equalizers giving an average reading of 70 dbA and measurement of the guitar's sound one meter away from the SPL meter, with the amplifiers-equalizers giving an average reading of 80 dbA. This 10 dbA average difference in the readings is perceived by the human perception as doubling of the volume (loudness). In SPL (Sound Pressure Level) criteria this difference of 10 dbA, between 70 dbA and 80 dbA is an increase of ten times more when the reading is 80 dbA in contrast to the 70 dbA. The innovation support-amplifier and equalizers are strictly pathetic acoustical members enhancing in an acoustical manner the sound of the guitar. They are not connected in any way to electrically or electronically working devices of any sort. As musical instruments, intonation is achieved to them, at all acoustical frequencies, they become an extension of the acoustical chamber-body resonator of the instrument itself upgrading the sound of any classical-flamenco or steel string acoustic guitar. An excerpt from his composition "magnapeiron" is performed in room conditions by Yorgos Kertsopoulos.The video of playing is taken by Apostolakis Konstantinos in room conditions at a distance of 1.7 m from the source and the recording has been left as recorded, no effect or mastering has been done on the sound. It is given here as recorded from the ZOOM Q8, as raw wave sound at 44.1 Khz.
https://www.classicalguitardelcamp.com/viewtopic.php?f=46&t=108201,
http://kertsopoulosaesthetics.blogspot.com/,
http://kertsopoulosformsandstrings.blogspot.com/
https://www.classicalguitardelcamp.com/viewtopic.php?f=46&t=109130,
http://kertsopoulospedalguitar.blogspot.com/,
https://www.facebook.com/kertsopoulosaesthetics/

Εκτενές βιογραφικό Γ.Κερτσόπουλου από τον Άρη Μανουρά

Ευχαριστώ από καρδιάς τον αγαπητό φίλο Άρη Μανουρά για το αφιέρωμα του στην εργασία μου, στο πολύ αξιόλογο και δημιουργικό blog του.http://arismanouras.blogspot.com/2012/03/blog-post_07.html

A word about the continuing revival of guitar forms in the work of Yorgos Kertsopoulos by:Smaro Gregoriadou

Smaro Gregoriadou: Reinventing Guitar on “Kertsopoulos Æsthetics”

..."What I found remarkable about the new instruments is the way they allow for a much more detailed separation of the treble and bass voices, of the different musical lines within each piece. One guitar almost sounds like two separate instruments! "... CLASSICAL MUSIC SENTINEL of Canada, July 2010

“Kertsopoulos Æsthetics” consist of a 30-year continuous research in guitar’s retrospective history and tradition accomplished by George Kertsopoulos, Greek guitarist and instrument-maker with international acclaim, which has ended in numerous achievements on the fields of guitar’s and strings’ construction and technology. It is a series of innovations and intelligent solutions aiming:

a) to connect contemporary guitarist with obsolete forms and sounds of guitar, that nevertheless determined the instrument’s rich evolution from early centuries until today, since the so-called “guitar” instrument has during its long history undergone enormous changes in form, construction, tunings, number and materials of strings, dimensions etc, and

b) to expand modern guitar’s technical limits and offer potential solutions to its undesirable complexities (small volume, imbalance in the transmission from 3^rd to 4^th string, dullness of trebles, pure tone-color etc).

Kertsopoulos’ innovations include:

1. New materials and types of strings that, when applied on an ordinary guitar, offer such interesting possibilities as:

• double/triple-course and re-entrant stringing,
• wide range of tunings from down a third lower to up an octave higher than the usual one in e’,
• multi-timbre exploration and tone-color diversity,
• bigger volume and sound projection,
• access to unexplored tonalities up to now totally out of use for modern guitar.

2. Complex applications of evolved specifications (right-hand and movable-back pedal mechanisms, scalloped fingerboards, soundboards of diverse various etc) with indisputable reinforcement of guitar’s sound.

“Kertsopoulos Æsthetics” have achieved:

1. Creation of guitar family and complete guitar ensembles with unlimited potential in frequency range and tone-color,

2. Credible, historically coherent, convincing interpretations of renaissance and baroque guitar repertory (music for solo guitar or ensemble music with guitar), as well as reliable guitar transcriptions of works originally written for instruments like lute, harpsichord, mandolin, violin etc,

3. New sound horizons for contemporary composers to explore giving a guitar sound that meets at last today’s concert hall demanding standards,

4. Creation of personal styles and aesthetic preferences that encourage diversity.