Design And Philoshopy
Having studied the work of many famous traditional luthiers as well as the many modern
developments in construction methods, we have tried to bring the best of these two worlds together in our guitars. As materials and tools have continued to advance, we must consider how they can be used in our work. By utilizing new technological developments, we are able to achieve a high degree of precision in construction. For example, we have the means to take highly accurate measurements both in dimensions and in sound, which is of vital importance in understanding and further developing the sound of each guitar but we also have the technology to replicate a successful improvement with the highest degree of precision. The aim always remains the same: not to move away from the traditional sound but to better it as far as possible and to preserve the elements we have come to love in the sound of the guitar, the mellow, crystalline sound of a traditional guitar that move the listener and spellbinds the performer. Below, we explain some of the standardized processes and innovations we use in our guitars.
The Top
Arguably, the top has the greatest influence in sound production in string instruments. With classical guitars we encounter mostly two kinds of tops, spruce and cedar. Each adds its own character and musical tone.
European Spruce
European spruce is traditionally the most popular species of spruce used in classical guitar tops. It offers good sound projection with very crisp, transparent low and high frequencies (bases and trebles). It is supposed to mature with time and with that the sound of the guitar. We only use it for our traditional guitars.
Western Red Cedar
Canadian Cedar is famed for producing a bright but warm tone and the most voluminous sound. It matures with time but it does so much quicker than spruce. We can use cedar in any of our models.
Choice Of Materials
The materials used in producing a guitar plays a decisive role in the sound it will finally produce. Selecting woods for their good sound properties and for their pedigree is essential for building a quality instrument. All the materials we use are of the best quality (master grade) and selected individually. Here are some of my choices:
Back and sides: Indian Rosewood, Cocobolo, Madagascar Rosewood, Ziricote
Fingerboard: Ebony
Neck: Spanish Cedar
Bridges: Indian Rosewood, Padouk
Reinforced sides
We use double sides in all my instruments for ample volume and to optimize sustain. For these purposes it is of utmost important that that the sides are rigid and lightweight. In this way all the energy produced by the top remains focused and is not absorbed by the sides.
The Rosette
The rosette consists of 3 main elements. The central element depicts olive branches, the symbol of all produce of the land of Greece and on either side appears another Greek symbol, the motif of a meander. All 3 parts are made from just 4 different colours of natural wood veneers.
Side Soundport
After extensive studies and experimentation, it can be said that a soundport offers clear advantages:
Assistive sound monitor: the soundport acts as a personal monitor, allowing you to listen to your instrument with more clarity.
Brightness: a soundport makes the guitar sound brighter, boosting the higher frequencies. Precision tuning: from a luthier’s standpoint, it allows for fine-tuning the instrument. By altering the size of the soundport we alter the mid and high frequency response.
Bridge And Saddle
All Koumridis guitars feature a bridge with a 12-hole tie pattern. When the strings are fitted correctly a sharp corner is formed against the saddle, ensures clean sound free from buzzing, which may occur due to lose contact with the saddle.
Playability
Comfort and ease are of utmost importance to a guitarist. We employ several techniques to make Koumridis guitars as easy as possible to play. Using special tools, we take precision measurements separately for each string at the nut and at the bridge so that the distance from the stringbed to the fretboard is the lowest possible. Also, the shape of the arm is carefully designed fir maximum comfort. Finally, each fret is shaped one by one to form an ideal plane in order to eliminate any possibility of buzzing.
Guitar Case
Koumridis Handmade Classical will com with a Hiscox PRO-II-GCL-L Large Cl. Case or similar.
Arched Back
All Koumridis guitars feature an arched back. There are many reasons: Increased rigidity Focuses the sound on the top Increases the synchronization frequency Increases sustain
Raised Fingerboard
A raised fingerboard has many advantages:
It provides easier access beyond the 12th fret. It provides a more solid bond between the arm and the body, and combined with the reinforced sides it amplifies the sound and boosts sustain. It increases the distance between the string-bed and the top, giving the right hand an advantage
Armrest
The armrest is a relatively simple feature that serves three main purposes: It allows for the ‘soundbox’ to vibrate more freely as it reduces the dumping effect of the right arm touching the top. It protects the finish of the guitar from damage at the contact point. It provides added comfort as it replaces the sharp edge where the top meets the side with a softer, rounded curve.
Headstock and Tuning Machines
The tuning machines on a guitar are more than just an accessory. The Italian-made Alessi tuners combine impeccable performance with ultimate aesthetic beauty.
Finish
For Koumridis guitars, we recommend French polish (shellac) or a special oil mix for the top and Nitrocellulose for the back and sides. These finishes enhance the wood's beauty with a nearly invisible, ultra-thin layer. Importantly, they don't hinder the top's vibrations, allowing for unrestricted movement.
