Catalog of manouche gipsy jazz guitars luthiers. All builders of gipsy style manouche guitars. Gipsy jazz guitars luthiers catalog Mauro Freschi Guitars

Italy

O-hole, D-hole, F-hole, Nylon, Others

2500 Euro

Yes

Yes

Yes

Yes

Nous'che Rosenberg, Mozes Rosenberg, Johnny Rosenberg, Gismo Graf, Joschi Graf, Jacopo Martini, Tommaso Papini

My name is Mauro Freschi and I live and work in Spresiano, a village near Treviso and Venice. I started building guitars in 2003 thanks to my passion for music and for this instrument that I have been playing since 1995. I first started by attending the workshop of Master Mario Novelli, manufacturer of classical guitars, and then driven by the passion for jazz music, I went on studying the manufacturing of Archtop (thanks to the help of Master Bob Benedetto, too) and Manouche guitars (Selmer-Maccaferri style). These guitars form the majority of my current production. I have a special preference for Gipsy Jazz music and Manouche guitars. Since there is little information about this kind of guitars, my experience is based on various building trials and on the use of different kind of woods; but mainly I spent a lot of time on different changes on the set-up of the guitar. As a matter of fact, this study has helped me give the instrument an excellent playability and a distinctive tone. In addition, I build Manouche guitars following the most specific criteria of the guitars I am inspired by: the Selmer-Maccaferri. I usually focus on important features such as bending the top behind the position of the bridge, which is something that today few people do, and on the use of laminated materials for the back and the sides. I have also made modifications on aspects that I think can be improved, like the use of the truss rod, and the headstock joint, which is different from the original ones. Since I am a guitar player first, I can understand the various needs of a musician; that’s why each one of my guitars is customizable both from the point of view of the playability and the exterior look. This is because I think that the musician has not to adapt to the instrument, but the instrument has to meet the needs of the guitar player. Besides bringing something apparently dead – the wood – back to life, I believe that the most beautiful thing about building guitars is the fact that I use different kind of woods coming from all over the world, each one with its own special tone and exterior features. It is like joining together different peoples with different colors and languages and getting them speak all together a unique language: the language of music.

info@maurofreschiguitars.com

http://maurofreschiguitars.com/

16.01.2016