Selmer-Maccaferri Angst

[Christian Miller]

Bleh, no DM50s through sandarac. They list DM100 but out of stock.

[Gitterbug]

Christian, you might want to check out what AJL-Guitars (AJL-Guitars | Home) in Finland has to offer. Master luthier Ari-Jukka Luomaranta has been specialising in gypsy guitars for two decades at least, with Andreas Öberg and Olli Soikkeli among his clients. Olli now plays gypsy jazz and swing on a 15" AJL Nuages archtop with a very innovative construction. Prices start from under 4,000 euro. These are all solid wood guitars, from mahogany and maple to Brazilian rosewood, varnished on the inside in true Selmer-Maccaferri tradition.

[Stringswinger]

Yeah, as said I couldn't find much either ... except the all maple one .. updated the last post with pics as seeing a blonde gypsy guitar is quite weird


No idea if maple sounds good????

My Dupont is a MD-20 (a fairly high end model) and has solid maple back and sides and a one piece maple neck. It sounds great and I have played many amazing maple Gypsy jazz guitars over the years. Back in the day, Selmer even made a few.

Here is a video of me playing mine some years back with Country music singer Ginny Mitchell:

[mr. beaumont]

Get a Martin flat top and disappoint everyone.

If I were in your shoes, I'd get the guitar I wanted, keep a Cigano or some other cheap but playable SelMac for the times people demand a musical costume, and play the guitar I want to on any gig I hustle. Your playing is good enough, you shouldn't have to play a guitar you don't want to play.

[Stringswinger]

Here is a video clip of Bireli Lagrene playing his maple Gypsy jazz guitar (Favino) with singer Sara Lazarus:

[Christian Miller]

Get a Martin flat top and disappoint everyone.

All I can say is I didn't get where I am today by giving people what they want.

If I were in your shoes, I'd get the guitar I wanted, keep a Cigano or some other cheap but playable SelMac for the times people demand a musical costume, and play the guitar I want to on any gig I hustle. Your playing is good enough, you shouldn't have to play a guitar you don't want to play.

I daresay you're right! Although I'm not hustling any gigs ATM and that might be the issue. I'm not my own master, musically, at least until January 20th :-).

I have some nice regular gigs paying good money and the band leader wants a gypsy jazz sound. I don't think that's unreasonable. I suppose the question quite aside from all my BS, is ultimately is do I invest in a better GJ guitar (I get a bit frustrated with the one I have sometimes) or carry on with what I've got and put that money towards an awesome guitar that is actually what I hanker after, but I might not play on those gigs, which right now are the only gigs I have.

(Anyway, that's not a decision I'll make tomorrow and that's probably a good thing because right now it feels like no-one will ever call me again to play anything else apart from this stuff and I'm not 100% rational.)

Quite fancy a Moffa or Trenier tbh, that will require a bit longer. I suppose I buy one amazing guitar and sell all my other guitars and say 'this is what I play, take it or leave it.' Wish I had more guts lol.

[Marinero]

"Most people in the audience do not care what guitar you play, so long as the music is good (I have done many jazz gigs with a Les Paul or Strat, even Gypsy jazz gigs...and no one complained and many complements were received). Guitar players, however are a different story." Stringswinger

Hi, S,
Five Stars!
Play live . . . Marinero

[Cunamara]

How about the Frank Vignola signature model?

Frank Vignola - Eastman Guitars

It often occurs to me that tonal preferences between various guitars may sometimes be accounted for by changes in hearing. If your band leader has lost a fair amount of high-end hearing, for example, he may very well prefer a brighter and thinner guitar because he can hear it clearly. Other people may be overly sensitive to high frequency sounds and prefer a very dark guitar sound as a result.

[Stringswinger]

All I can say is I didn't get where I am today by giving people what they want.



I daresay you're right! Although I'm not hustling any gigs ATM and that might be the issue. I'm not my own master, musically, at least until January 20th :-).

I have some nice regular gigs paying good money and the band leader wants a gypsy jazz sound. I don't think that's unreasonable. I suppose the question quite aside from all my BS, is ultimately is do I invest in a better GJ guitar (I get a bit frustrated with the one I have sometimes) or carry on with what I've got and put that money towards an awesome guitar that is actually what I hanker after, but I might not play on those gigs, which right now are the only gigs I have.

(Anyway, that's not a decision I'll make tomorrow and that's probably a good thing because right now it feels like no-one will ever call me again to play anything else apart from this stuff and I'm not 100% rational.)

Quite fancy a Moffa or Trenier tbh, that will require a bit longer. I suppose I buy one amazing guitar and sell all my other guitars and say 'this is what I play, take it or leave it.' Wish I had more guts lol.

Life is too short to play gigs with an instrument that frustrates you. If you think this bandleader who wants a Gypsy jazz guitar in your hands will be providing you with work for the foreseeable future, get a Gypsy jazz guitar that doesn't frustrate you.

[daverepair]

I like to play vintage jazz on acoustic archtops. I have several nice vintage Epiphones, and recently discovered Selmacs: they do seem to work great for acoustic jazz. I have an Eastman DM1, and I like it very much, although the Epiphones have a more rounded tone. I just completed major repairs to a ‘49 Epiphone Triumph cutaway( similar to the one pictured earlier), it was about the loudest Epi I’ve played to date, and tuneful. Just excellent. I have not yet played the Selmac at gigs, because I’m not sure it will sound good on the Americana/roots/bluesy material I also play(although my bandmate does!). As a builder, I’ve thought about building a Selmer style guitar, but with changed visuals(round soundhole; different bridge & tailpiece; different headstock) that don’t say Django R., to avoid listener assumptions. Phew, this is a ramble, but this topic and the above responses I find very interesting! Good luck to the OP in finding the perfect guitar that ticks all the boxes.

[Litterick]

I already do this on a Selmac

Lovely tune; gorgeous animation.

[JSanta]

It sounds like maybe a Cyril Gaffiero Modele Romane is what you need!

>> modele Romanes

I have been playing my Modele Originale for several months and it's spectacular. You get a lot of guitar from Cyril for not a lot of money (relatively). He's also a super nice guy and easy to work with.

[daverepair]

I have a Gitane DG-255 that is a bit beat ... Would getting an Eastman DM be a slight "upgrade" or just more of the same same?[/QUOTE]

I do have an Eastman DM1, and I like it very much. The tone is good, fit & finish typical good Eastman quality, and the playability is excellent. But I haven’t played any Gitanes, so, no help with a comparison.

Before buying the DM1, I got to play a boutique Selmer copy by Craig Bumgarner of Maryland. That one was superb! Couldn’t afford one, so the DM works for now.

[JSanta]

I have a Gitane DG-255 that is a bit beat ... Would getting an Eastman DM be a slight "upgrade" or just more of the same same?

I do have an Eastman DM1, and I like it very much. The tone is good, fit & finish typical good Eastman quality, and the playability is excellent. But I haven’t played any agitates, so, no help with a comparison.

Before buying the DM1, I got to play a boutique Selmer copy by Craig Bumgarner of Connecticut. That one was superb! Couldn’t afford one, so the DM works for now.[/QUOTE]

The Eastman is really not an upgrade over the Gitane, IMO. Built really well, but no better playing or sounding than a Gitane or Altamira. The D-shaped neck on the Eastman was also not pleasant for me, their modern C shape on their other guitars is pretty awesome. I have one of Craig's (he's on the eastern shore of MD) guitars as well, and in terms of what you get from a luthier versus factory with these manouche guitars is pretty significant. I have not played one of the factory imports from Asia that had the kind of dry bark and punch you get with someone like Barault, Dupont, Gaffiero, Holo, or Bumgarner. Don't get me wrong, Eastman/Altamira/Gitane instruments are tremendous value and overall good instruments, but they never sounded "right" to me.

That all being said, Stephane Wrembel played, toured, and recorded with a Gitane for a long while before getting his Holo's. A lot of it is in our hands, of course.

[Litterick]

Is Selmer-Maccaferri angst the jazz guitar equivalent of Guillain–Barré syndrome?

[Christian Miller]

Lovely tune; gorgeous animation.

thanks! My sister did the animation. Annoyingly talented.

[Christian Miller]

I think what I’m going to do is continue to save my money and when I have an opportunity go and hustle some gigs where I can play whatever I want haha. And buy a bloody nice archtop at some point.

[Stringswinger]

I think what I’m going to do is continue to save my money and when I have an opportunity go and hustle some gigs where I can play whatever I want haha. And buy a bloody nice archtop at some point.

I have a Heritage built DA New Yorker replica that is a superb guitar and very acoustic. I have used it on Gypsy jazz gigs with great success. And the other Gypsy jazz guitarists have loved it. You dont need a Selmac for the music. But sometimes you need it for the appearance.

[littleknicky]

This thread has been quiet for at couple of days, so I'm going to hijack it


Before looking for more Duponts I have to ask:

I have a Gitane DG-255 that is a bit beat ... Would getting an Eastman DM be a slight "upgrade" or just more of the same same?

I have owned a few Gitanes and have played more than quite a few. Generally, I would consider an Eastman or an Altamira guitar an upgrade as they tend to have a punchier, "drier" sound. This is based on playing and owning many Altimira guitars and playing a few Eastmans. I speak in generalities due to the following:

• Technique plays a large factor in getting the characteristic sound in this style
• Many of these guitars are not set up very well at all or have been set up by someone unfamiliar with these guitars.
• Some manufacturers are rather inconsistent with what comes out of the factory.
• Oftentimes a custom bridge and a proper setup can do wonders

Both the Altamiras and Eastmans tend to be very consistent in quality and I would be comfortable buying one sight unseen. Gitanes and Ciganos have been hit or miss for me and I would not purchase another one unless it was at a very, very attractive price. On the other hand, a friend has a Cigano which has had a setup and custom bridge and the thing sounds absolutely amazing. I'd say it's one in a hundred. Still, beyond some simple setup work, I would not throw any more money towards one of these guitars if I owned one. I have been down this route and it's just putting lipstick on a pig. All of the Eastmans and Altimiras I have played have been very nice right from the factory without the need of any work.

If you are looking for a luthier guitar, we are smack in the middle of the Golden era of Selmer/Maccaferri style guitars. Dupont, Barault, Holo, AJL, ALD, Bumgarner, Gaffiero, Duffell, Marin, Park, Hahl, Lebreton, La Manna... the list goes on. This is a different story.

Going down this route you will find some fantastic instruments that will blow away a typical factory guitar. Many makers have their followers and I'd say that you have to play them to see what you like. Even with the same luthier, you may have design differences, material variability, and a random factor that makes for different sounds. A number 54 from luthier XYZ may sound very different than number 53. In this sense, it is often tiring to hear "a ABC guitar is better than a XYZ! Wrong! that's because you haven't tried a JKL guitar!". Try them and decide for yourself. I've played some absolute dogs that were from very well-known makers and some diamonds from some lesser-known ones. If you can make it to a gypsy jazz festival near you, people in this style are generally very welcoming and you will be able to try many guitars. If buying sight unseen, make sure there is a return policy.

Apologies for the rant. Getting back on track, I'd say that if you have an original bridge and have never had the guitar set up, start with a new bridge from Djangobooks or Djangoguitars, get frets leveled/crowned and insure relief and action are in the ballpark. If you intend to pursue this style further, save up for a luthier grade guitar and skip the Altamira or Eastman. If you are looking to satisfy some GAS with something new that may be a little punchier - selling the Gitane and picking up an Altamira or Eastman could be a good choice and you shouldn't lose too much on the transactions.

[wintermoon]

I'm no expert on these but years ago when a friend had joined a gypsy jazz band he went looking for a suitable Selmer style guitar. We stopped by Jacques Mazzeloni's booth @ a guitar show and played every one he had including 2 original Selmers.
My friend settled on a D hole Dupont. It blew away every GJG he had except one of the 2 original Selmers which was an exceptional instrument.

[Stringswinger]

littleknicky is spot on (BTW, he and I have played many gigs together over the years before he moved to Europe, and I can say that he is a very accomplished player in the Gypsy jazz style) in his advice.

Having owned many Gitanes (4) and having played many others and also having owned many luthier built Selmacs (9 and I still have 2 of those) and having played many others, I think a new bridge and set up go a long way on a Gitane/Cigano for sure and can be money well spent, but I would skip the Altimira/Eastman step myself and go to a luthier built Selmac (I recommend a Dupont) that will get you through life with no regrets.

[Christian Miller]

I have owned a few Gitanes and have played more than quite a few. Generally, I would consider an Eastman or an Altamira guitar an upgrade as they tend to have a punchier, "drier" sound. This is based on playing and owning many Altimira guitars and playing a few Eastmans. I speak in generalities due to the following:

• Technique plays a large factor in getting the characteristic sound in this style
• Many of these guitars are not set up very well at all or have been set up by someone unfamiliar with these guitars.
• Some manufacturers are rather inconsistent with what comes out of the factory.
• Oftentimes a custom bridge and a proper setup can do wonders

Both the Altamiras and Eastmans tend to be very consistent in quality and I would be comfortable buying one sight unseen. Gitanes and Ciganos have been hit or miss for me and I would not purchase another one unless it was at a very, very attractive price. On the other hand, a friend has a Cigano which has had a setup and custom bridge and the thing sounds absolutely amazing. I'd say it's one in a hundred. Still, beyond some simple setup work, I would not throw any more money towards one of these guitars if I owned one. I have been down this route and it's just putting lipstick on a pig. All of the Eastmans and Altimiras I have played have been very nice right from the factory without the need of any work.

If you are looking for a luthier guitar, we are smack in the middle of the Golden era of Selmer/Maccaferri style guitars. Dupont, Barault, Holo, AJL, ALD, Bumgarner, Gaffiero, Duffell, Marin, Park, Hahl, Lebreton, La Manna... the list goes on. This is a different story.

Going down this route you will find some fantastic instruments that will blow away a typical factory guitar. Many makers have their followers and I'd say that you have to play them to see what you like. Even with the same luthier, you may have design differences, material variability, and a random factor that makes for different sounds. A number 54 from luthier XYZ may sound very different than number 53. In this sense, it is often tiring to hear "a ABC guitar is better than a XYZ! Wrong! that's because you haven't tried a JKL guitar!". Try them and decide for yourself. I've played some absolute dogs that were from very well-known makers and some diamonds from some lesser-known ones. If you can make it to a gypsy jazz festival near you, people in this style are generally very welcoming and you will be able to try many guitars. If buying sight unseen, make sure there is a return policy.

Apologies for the rant. Getting back on track, I'd say that if you have an original bridge and have never had the guitar set up, start with a new bridge from Djangobooks or Djangoguitars, get frets leveled/crowned and insure relief and action are in the ballpark. If you intend to pursue this style further, save up for a luthier grade guitar and skip the Altamira or Eastman. If you are looking to satisfy some GAS with something new that may be a little punchier - selling the Gitane and picking up an Altamira or Eastman could be a good choice and you shouldn't lose too much on the transactions.

my experience is that Altamiras are invariably loud. If you get a good Gitane though, it rocks.

[Stringswinger]

@ Christian: Another option to consider is the Selmac crossover, whether it is the Thorell/Benedetto/Eastman Vignola models or a Selmac with more of an archtop sound (Shelley Park/Bernie Lehman). I have a Shelley Park Encore which is a different animal than my Dupont (Warmer and less Strident tone and with it's modern neck profile it is more playable). I had another Shelley Park (Elan 14) that I sold to a friend who at the time was part of the Hot Club of San Francisco. I kept a first right of refusal on that guitar and had regrets soon after letting it go. Every few years I call my friend to ask if he is ready to sell it back to me and the answer is always no. That speaks volumes for Shelley's work. After almost 15 years, I am beginning to come to terms with the fact that the Elan 14 probably will never be coming back to me.

[ronjazz]

[QUOTE=Christian Miller;1157872]

Most people in the audience do not care what guitar you play, so long as the music is good (I have done many jazz gigs with a Les Paul or Strat, even Gypsy jazz gigs...and no one complained and many complements were received). Guitar players, however are a different story.]

Lucky ole you. This has not been my experience from non-guitar playing band mates. Often it seems I have the last say in what guitar I want to play. I do sometimes play an ES175 esp for band gigs, but the band leader has a preference for the Altamira and that’s fair enough.

OTOH having a Django sounding guitar means I have more freedom to play in my own style, weirdly. The guitar does a lot of the heavy lifting for the genre.

(I do have to take the opinions of the people who book me for gigs into account though, at least to some extent.)

I’m half jokingly saying that knowing my luck if I got a nice Dupont he’d still prefer the cheap guitar haha, and I know for sure he’d pick the Altamira over a high end archtop. It probably wouldn’t be the case because I think the new instrument would have the good aspects of that guitar with a more nuanced and developed voice, but I’m not ruling it out lol

I could ‘sell it to finance the new purchase’ I guess?;-)

Except for the bandleader, fellow players are the last people you should pay attention to, really. In the final analysis, the paying audience are the most important judges. I've recently added Gretsch guitars (I have been playing mostly nylon-strung Godins), my compatriots are shocked and appalled; the audience for my jazz concert yesterday LOVED my Gretsch, both looks and sound, I even got somebody yelling from the audience to tell them about my guitar! Even more interesting, the sound crew couldn't stop praising it. These instruments sing and have bell-like clarity: no thunk at all, but a really large variety of tones and a great ability to handle processing; reverb, delay, modulation effects: less is always more. And the Electromatic series is very budget-friendly: I picked up two very slightly used hollow-bodied archtops for about $1300.00 US. That's student-model pricing for thoroughly pro-level instruments. I'm not recommending them, just making a point: Is the bandleader going to fire you if you get a better Django-style guitar?

[m_d]

Emmet Ray/Howard Alden/Sean Penn played a Dupont in Sweet and Lowdown, the soundtrack wasn't gypsy jazz per se.