Visit to Cris Mirabella

[QAman]

The other day I made a visit to see Cris Mirabella to have an L5 pick-guard made. Despite his busy schedule he agreed to help me out. My pick-guard was gassing out and beginning to corrode my high e string.

During my visit we discussed the good ole days going back to Ronnie DeMarinos shop and all the Long Island guitar shows - it was a fun afternoon catching up.

During my visit Cris handed me a slant hole oval guitar he built 7 years ago - which became available, and sold in 4 days. He knows I like oval hole Archtops , so I took it for a spin.

The guitar had this beautiful fat timbre and warm powerful bass response - and very similar to the slant hole offerings from my good friend John Monteleone. I know we think of Cris for his restoration work, of which he has about 17 rebinds ( D’Angelico/ D’Aquisto) currently in process - but not enough is said about his Archtops.

Most of you know I like to support all the Luthiers who are out there continuing in the craft of Archtop construction / restoration - and Cris is one of those guys who really supports the Archtop enthusiast in many ways.

For those looking for an amazing slant hole Archtop - I highly recommend one of these Mirabella’s - they are fantastic !

I also asked Cris to please post some of his builds so people can see his latest offerings.

Here is a pic of the one I played
M



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[Archie]

Are those medullary rays on that qs spruce, or something in the finish?

[wintermoon]

Looks like bear claw to me.

[QAman]

It's bear claw

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[Max405]

QA,
You had a heck of a couple of weeks!
I am glad the Ron DeMarino shop came up. Ron has a son who was in the wood business who also does DA and DAQ restoration work. I think Cris was an apprentice there. He made (and signed) the bridge for the famous HDA that Stringswinger owns. It is really cool to see Cris get some much deserved mentions here. I found him to be a really nice guy the couple of times we chatted. And he has incredible talent. His builds look extraordinary.
When my ship comes in, he will be hearing from me. I think he might have to be a little more generous with the amount of wood he uses on my pickguard though..
My ship is no where in sight at this very moment..
Joe D

[QAman]

QA,
You had a heck of a couple of weeks!
I am glad the Ron DeMarino shop came up. Ron has a son who was in the wood business who also does DA and DAQ restoration work. I think Cris was an apprentice there. He made (and signed) the bridge for the famous HDA that Stringswinger owns. It is really cool to see Cris get some much deserved mentions here. I found him to be a really nice guy the couple of times we chatted. And he has incredible talent. His builds look extraordinary.
When my ship comes in, he will be hearing from me. I think he might have to be a little more generous with the amount of wood he uses on my pickguard though..
My ship is no where in sight at this very moment..
Joe D

Joe,
Yeah - it’s been a fun couple of weeks for sure. Ive been hanging around local luthier shops for decades - and it’s always interesting to see what they have in the works, or what new direction they’ve taken.

Cris has so much restoration work that it certainly has an impact on his guitar builds, but the experience with these restorations has given him great insight into “ what’s under the hood”. That knowledge is certainly getting applied to his own instruments.

He really has a soft spot in his heart for the old timers who come to him for repairs and restorations - even though I sense he’d like to be spending more time on his own builds.

But like he said “ Steve , I just can’t say no to these guys who need repairs on their DA’s or DAQ’s “ . He has a love and passion for the Archtop guitar - and all that it’s meant to the Long Island community and surrounding tri state region. It’s in his blood - and we’re fortunate to have him supporting these needs.

As for Ron’s son, I think it’s Steve DeMarino who continued working on guitars. If anyone is reading this and knows more about the current status of Steve or Ronnie - please jump into this post.


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[RJVB]

Someone else paid Cris a visit too and then sung quite some praise on his YT channel:

[Ol' Fret]

A good job here of showing respect to one of the contemporary masters of archtop guitar making!

Cris Mirabella:
<< So there was a European builder in the 50s - I forgot the name - and they were actually very nice looking instruments that did a two-soundhole design where you basically had a bridge across the soundhole. It was an interesting design, I think from that standpoint it was more esthetic, but it did make for a wonderful instrument. >>


Agreed with "a wonderful instrument", but no design by Artur Lang was based on the standpoint of just being "more esthetic".

[RJVB]

no design by Artur Lang was based on the standpoint of just being "more esthetic".[/FONT]

Not even the spekuk style sides and the shoulder of the pickguard that echoes/follows the shape of the cutaway?

[Ol' Fret]

Not even the spekuk style sides and the shoulder of the pickguard that echoes/follows the shape of the cutaway?

What some call "side bumpers" on Lang guitars has a defined mechanical, resp. acoustic function.
The tank-like Schaller-made pickup/pickguard plates don't have much to do with Lang guitars. You can find them on all sorts of German archtops from that era, in most cases after-buy parts attached by the players. Lang himself was a DeArmond fan and attached the Schallers only if the customer was not able or willing to spend the money for a DeArmond pickup. In Germany, US made stuff was hardly affordable in the 1950/60s.

Hopefully, one or two here will catch the functional differences between the "split soundholes" designed by Lang and Mirabella. Like so often with acoustic archtop guitars, it has to do with the stiffness and mass of the soundboard. Purely esthetic factors are really welcome and nice for the eyes, but of secondary importance for the player.

[RJVB]

What some call "side bumpers" on Lang guitars has a defined mechanical, resp. acoustic function.
[...]
Hopefully, one or two here will catch the functional differences between the "split soundholes" designed by Lang and Mirabella.

And maybe you could try to enlighten the others?

I'm not certain what it is you call "side bumpers". What I see is a striated side wall that I've also seen in other German archtops of the era. Maybe that "striation" does serve a purpose, but I still expect that the reason it's so highlighted is mostle aesthetic. A lot of those German archtops have a definite edelkitsch vibe going on.

[Ol' Fret]

And maybe you could try to enlighten the others?

I'm not certain what it is you call "side bumpers". What I see is a striated side wall that I've also seen in other German archtops of the era. Maybe that "striation" does serve a purpose, but I still expect that the reason it's so highlighted is mostle aesthetic. A lot of those German archtops have a definite edelkitsch vibe going on.

RJVB, I'm sorry but I don't feel that I should be able to enlighten or lecture other people!
One of my mottos has been: Know yourself and do the math! In my eyes it is useless to try to convince people about anything being good or excellent - that's the job of sales, marketing and ad men, but it's always a pleasure to help people who are candidly on the search after something to find one or two new ways or paths that were previously hidden from them, thus enlightening themselves. It's just not the way internet forums work. Too often have we had to experience that a qualified original poster was silenced by the blunt and unfounded "No" of someone with at best little knowledge on the subject. In addition, sometimes there's the known problem of forums of what I call "clan formation". Often, these clan folks are not willing to learn, rather defending their clan opinion.


So, trying to answer (in part) your question about the "striation" on the guitar sides:
Yes, a lot of German vintage archtops show such a feature, and fully agreed that "a lot of those German archtops have a definite edelkitsch vibe going on".
Lang guitars are different. His outside "side bumpers" were not painted or made by using very thin stripes of wooden veneers, but made of 2mm thick ABS or Tortoise stripes and attached very well around the sides (actually, I know pro luthiers who decline gluing such stripes because it can be tricky or they feel unsure about the durability of such a procedure).
Lang's stripes stiffen the sides considerably, similar to the stringers of an airplane fuselage (Lang was a trained war aircraft builder at some point). Stiffer sides are basically desirable because they keep the strings' energy more in the main vibrating system of the soundboard and - less important - the back. Lang's "Super" models (side depth c. 8 - 8,5cm) have usually two side bumpers, his "Super de Luxe" models show a side depth of c. 9 - 9,5cm and usually sport three bumpers.

So no edelkitsch on Lang guitars, but full function. In the meantime, even sellers on Reverb know about the function of reinforced sides: Artur Lang Deluxe custom 1965 - Cherry sunburst | Reverb Deutschland (no affiliation here).


Not only does the side depth of different Lang models work together with the amount of reinforcement, but also the shape of the various soundholes. I don't like to derail this wonderful Mirabella thread too much, so maybe I'm going to share some words or pics in another thread. It will definitely not be enlightening for all, and I'll offer no clarification on a silver platter - seeing myself still as a searching archtop guitar mind for a lifetime.

[RJVB]

efinite edelkitsch vibe going on".
Lang guitars are different. His outside "side bumpers" were not painted or made by using very thin stripes of wooden veneers, but made of 2mm thick ABS or Tortoise stripes and attached very well around the sides [...] Lang's stripes stiffen the sides considerably, similar to the stringers of an airplane fuselage (Lang was a trained war aircraft builder at some point).

See, clearly you know things that not everyone knows, and sharing that knowledge is enough enlightenment for me

[AKA]

I purchased a Jazz Modern model from Mirabella in 2010. It is the best sounding, most responsive archtop I’ve owned. He dedicated the build to the memory of his beloved parents. It is a masterpiece.

We’ve been in discussions regarding a new build. Given my advancing age, l’ve been reluctant to commission a new instrument, but have decided to proceed.

AKA

[marcwhy]

Works or art, man -- beautiful!

[skiboyny]

If memory serves you have a couple of L5 and maybe some others. I think your ship came in a while ago.

QA,
You had a heck of a couple of weeks!
I am glad the Ron DeMarino shop came up. Ron has a son who was in the wood business who also does DA and DAQ restoration work. I think Cris was an apprentice there. He made (and signed) the bridge for the famous HDA that Stringswinger owns. It is really cool to see Cris get some much deserved mentions here. I found him to be a really nice guy the couple of times we chatted. And he has incredible talent. His builds look extraordinary.
When my ship comes in, he will be hearing from me. I think he might have to be a little more generous with the amount of wood he uses on my pickguard though..
My ship is no where in sight at this very moment..
Joe D

[Max405]

If memory serves you have a couple of L5 and maybe some others. I think your ship came in a while ago.

Skiboy, I’m sorry I missed this. My boat came in. I need a ship because I want to keep what I got!
I’m not complaining trust me. Mirabella guitars are pure art in the same vein of the great Monteleone. I’d love to have one for sure.
JD

[sgcim]

Skiboy, I’m sorry I missed this. My boat came in. I need a ship because I want to keep what I got!
I’m not complaining trust me. Mirabella guitars are pure art in the same vein of the great Monteleone. I’d love to have one for sure.
JD

Except Mirabellas sound great too!

[D'Aquisto Fan]

I had a long, wonderful conversation with Cris this afternoon. Not only is Cris a gifted artisan, he's a true gentleman.

[Max405]

Isn't he though? I talked to him once, when I had my D'A.
Then we emailed each other back and forth recently.
He is a credit to the world of guitar building. And a really Good, Pleasant person. His creations are astonishing. I always get good vibes from him. Thats why I know one his guitars could absolutely be in my future.
And DA fan, you are a pretty good dude too..
JD

[D'Aquisto Fan]

Isn't he though? I talked to him once, when I had my D'A.
Then we emailed each other back and forth recently.
He is a credit to the world of guitar building. And a really Good, Pleasant person. His creations are astonishing. I always get good vibes from him. Thats why I know one his guitars could absolutely be in my future.
And DA fan, you are a pretty good dude too..
JD

Thanks, Joe. Cris really is a blessing to our community of archtop lovers, and like I said, a super nice, kind guy as well.

[AKA]

Isn't he though? I talked to him once, when I had my D'A.
Then we emailed each other back and forth recently.
He is a credit to the world of guitar building. And a really Good, Pleasant person. His creations are astonishing. I always get good vibes from him. Thats why I know one his guitars could absolutely be in my future.
And DA fan, you are a pretty good dude too..
JD

I will be posting this Mirabella in the “For Sale” section shortly.

[QAman]

Just got back from visiting Cris Mirabella. He completed the pick-guard for my L-5, and as you would expect - it came out perfect and reinstalled flawlessly. I attached a pic.

But the highlight of this visit was playing the recently completed Trap door model destined for a client in China. Cris just completed setting up the guitar last night - and I was honored to be the first to play it.

This is a top of the line modern styled Archtop designed for the soloist. The interior bracing and execution of design and workmanship is at the very highest level. The interior of sides and back exhibited a light coating of nitro which added a touch of elegance to the interior and the outside amber burst finish is gorgeous.

We’ve all heard the term lap piano used to describe an extraordinary instrument. Well - I could find no other expletive more appropriate for this guitar then a true “lap piano”. It possess this rich , warm kind or darker purity to the note that sounded like the key of a piano strike - with volume and complete openness. The tone and volume across each string was equal, no matter where you played on the fingerboard. The balance was so good that each note of the chord was very distinct and true - and only further enhanced by strumming the full chord and hearing this woody shimmer of pleasure. It was certainly the finest sounding Mirabella that I’ve played. In fact , it had the warmth of the slant oval hole-but with more substance.

To me, this 18” masterpiece exhibits a blend of all the influences Cris has been surrounded by throughout his 28 years of studying, building and restoring Archtop guitars. He has forged his own path - with a desire to continue along the legacy of D’Angelico, D’Aquisto and Monteleone -with a never ending desire to evolve the capability of the Archtop.

The Mirabella guitars have a unique voice which needs to be experienced. This guitar will be at the upcoming Woodstock show for anyone interested in seeing / hearing it first hand.

For those who wish to own something combining the best visual and sonic attributes of the aforementioned builders - this is the modern interpretation all wrapped up into one symphony of a guitar. Cris does has a few spots open for 2026.














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[wintermoon]

I guess that's a sunset finish?
I don't know about the guitar but he should hire you to write his instrument descriptions!

[QAman]

I guess that's a sunset finish?
I don't know about the guitar but he should hire you to write his instrument descriptions!

Not sure what's Cris calls the burst - but I could certainly see Sunset being a good choice.

Thanks for the kind words - its easy to talk about great Archtops. Its been in my blood for over 40 years.

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