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.
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Kertsopoulos Aesthetics: The How and the Why – Part 3

“The Kertsopoulos mathematical model and geometrical progression of the classical guitar, presented for the first time in such a detail.” Vol. 1 of 7.

http://guitarinternational.com/wpmu/2011/01/12/kertsopoulos-aesthetics-the-how-and-the-why-%E2%80%93-part-3/

The function of the extra 21 string lengths on the "KERTSOPOULOS PNEUMATIC FOOT PEDAL GUITAR"

1) By using only six extra strings in and out and around of the five in all bridges, we obtain 21 different vibrating string lengths, which we tune to the desired (specific for each string) tuning, according to the needs and we are also able to play these strings according to the musical needs.

2) The two levers that move up and down by the pneumatic system  (through the needle that pushes them upwards with adjustable force by the pedals) apply the desired pressure-force specifically to nine string lengths. This function is responsible for the pedal effects on the guitar. The centered lever is stable to provide the necessary stability to the system.

3) As the strings pass under one main bridge and come up through the other bridge, they apply an upward torque force on the soundboard compensating for the extra downward torque forces that are exerted mainly on the soundboard itself and consequently to the sides of the instrument.They are engineering solutions resembling the flying bridge's design, very necessary to provide a dynamic equilibrium for the static as well as the vibratory state of the instrument.This is also essential for the smooth effect of the pedal mechanisms.

4) As the 21 string lengths are tuned to specific frequencies they enhance the Helmholtz resonant frequencies of the chamber as well as the frequency responce of the plate's tuning areas (top and back included) according to taste, because these can differ and can have a great variation in the range of the performer's taste.

5) They are also used as sympathetic strings in real time playing and they have a wide range of frequency adjustments.Please note that function 4) is a separate function differing from function 5).

Another recent review concerning "Kertsopoulos" guitars

..."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

YORGOS KERTSOPOULOS - GUITARIST, LUTHIER, STRING CONSTRUCTOR, RESEARCHER, AUTHOR

PHOTO PUBLISHED BY "EPIKAIRA" MAGAZINE OF THE WIDE CIRCULATION SUNDAY'S GREEK NEWSPAPER "KYRIAKATIKI" ("ELEFTHEROTYPIA") ON A FOUR PAGE ARTICLE CONCERNING "KERTSOPOULOS AESTHETICS", 6 MARCH 1994, ISSUE 152

THE KERTSOPOULOS PNEUMATIC FOOT PEDAL GUITAR - Athens 1988

KERTSOPOULOS PNEUMATIC FOOT PEDAL GUITAR

Welcome to Kertsopoulos Aesthetics.It includes inventions and constructions in guitars and strings.The history of the guitar includes numerous forms of the body of the guitar, the string quality and quantity and the tuning of the instrument in different ranges. This revival of the many different forms constitutes the "Kertsopoulos Aesthetics".

The kertsopoulos pneumatic foot pedal guitar gives to the guitarist all the pedal interpretational  capabilities offered likewise to the pianist by the piano pedals.

Georgios Kertsopoulos is a Greek-Canadian author, researcher, inventor, guitar soloist, luthier and professor of the guitar. In 1983, he presented his "Mathematic model of the guitar" at the MUSIKMESSE in Frankfurt, a work which received international acclaim and was published by specialist musical and acoustics magazines in Greek by "Sound and Hi-Fi" and in German and English by DAS MUSIKINSTRUMENT in Germany under the title: "The Physics of the Guitar".His research over the years has led him to areas of physics, mathematics, space-time experimentation procedures, gravity-inertia measuring apparatus inventions, etc.His experiences on the matter of space-time comprise a vast field of specific and bordered at a first look objects. On a second look and thought the essence of continuum many a times can be revealed between the bordered differences. This scope of analysis always to be followed by synthesis is his philosophical approach concerning of course the object and the subject.