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Maccaferri and Selmer Style Guitars
Django Reinhardt and his Quintette associates along with
other mid-20th Century players preferred the unusual looking
Maccaferri and Selmer instruments. Many modern players
seek originals, reproductions, and improvements on the
originals. The guitars have a distinctive squared off cutaway
and either large D or small oval soundholes. The older D
soundhole guitars were designed by Maccaferri, with the
variants modified from his design by Selmer Company, which
made the guitars in Paris from early 1930s through 1952. Not
very many originals were made and players highly value
originals.
The 1930s saw the need for greater volume than typical flat
top guitars provided. In the US, makers responded with the
punchy oval and then F hole archtop models, resonator
guitars, and increasingly large flat tops. In Europe, classical
guitarist and Italian-trained maker Mario Maccaferri designed
and the Selmer Company of Paris, France produced a
stunning big guitar with a large D shaped hole – the
Orchestra or “grande bouche” model. This guitar has 12
frets to the body and originally hosted an internal resonator.
The grande bouche remained in production from 1932 to
1934, when a contract dispute drove Maccaferri and Selmer
apart. The Gitane D-500 copies this original nicely at a
modest price. Following the breakup, Selmer developed the
14 fret “Modele Jazz” or “petite bouche” guitar with a small
oval vertical soundhole. The Gitane DG-255 reproduces this
guitar. The other Gitane models are derived from the basic
platform, but vary.
While Django Reinhardt played a Selmer guitar and later
picked up a US made archtop, Maccaferri himself probably
remained unfamiliar with Reinhardt and his music. Reinhardt’
s oval hole petite bouche model, Selmer guitar #503, resides
rests in the Conservatoire Nationale in Paris.
Selmer style guitars don’t sound like either US acoustic flat
top or jazz style archtop guitars. Most listeners initially hear
the emphatic, cutting treble range. However, the design
usually provides a beautifully clear sweet spot, giving a full,
rich tone and wide dynamic range. The D hole models are
more deep voiced, while the oval hole models provide a clear,
easily heard lead line. Most modern players initially prefer the
long neck, long scale oval-hole, probably because Django
played one. Players without a visual preference often move
to the short neck, short scale D-hole. The oval hole model
tends to push sound outward, giving less feedback to the
player. But the long scale of the oval hole model allows hard
and intense play.
Selmer jazz guitars incorporate archtop features on a flat top
instrument to increase volume and intensity. The loose
bridge, separate tailpiece, and ladder bracing let the relatively
soft top vibrate quickly and powerfully, providing a sharp,
crisp attack in either lead or rhythm roles. But the same easy
response allows delicate, nuanced play.
Looking at the design can provide informative. The original
grande bouche D hole Selmer guitars had a 648mm (25.5")
scale, about the same as modern flat top guitars (e.g., Martin)
but with a wider fingerboard. The necks on these early
models are usually large. The petite bouche generally had a
long 670mm (26.4") scale. The D hole models were intended
to host Maccaferri’s patented internal resonator. Most have
had the resonator removed, possibly to keep it from buzzing
or to change the tone. When the resonator works, it seems to
provide better bass response. Unfortunately, the resonator is
difficult to make and install. Few original guitars with
resonators survive.
Most Selmer guitars are laminated Indian rosewood with
walnut necks. A few late models have solid rosewood necks.
Selmer made a few mahogany guitars, and a few birdseye
maple versions with matching maple necks. All had solid
spruce tops. Both Selmer-produced guitars had a then
unique square cutaway.
Mario Maccaferri was a classical guitarist and designed his
Concert Model with fan bracing for use with gut strings. The
bridge is glued on. The neck is relatively wide. But because
of the easily flexed top, big top size, and cutaway it is a
wonderful instrument for classical, Brazilian, and jazz.
Unfortunately, a relatively inexpensive reproduction isn’t
available.
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Gypsyjazzguitars.com
10091 Unitia Road
Friendsville, TN 37737
866 884 6546 toll free
mail@gypsyjazzguitars.com
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