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Modèle Elan 12 Blackwood

Modèle Elan 12 Non-Cutaway

Modèle Avance with resonator

$3600 plus shipping

the only Park guitar with a resonator in existence
January 2000 #38
Engleman spruce soundboard
Indian Rosewood back and sides
Standard Indian rosewood binding
Black Walnut 2 piece neck
Big Tone pick-up installed
Gold Schaller tuners, gold tailpiece
Nut 45mm wide, 14 fret 58mm wide
10th fret position marker
new hardshell case

$2900 plus shipping

June 2003 #107
Sitka spruce soundboard (handsome dark patina - played outside at a farmer’s market)
Zircote back and sides
Ebony binding
Big Tone pick-up installed
gold Schaller tuners, brass DR tailpiece
Nut 43mm, 12th fret 55mm
10th fret position marker
new hardshell case

small pinholes on top of headstock (my cat likes to chew headstocks and I like to run into things with them…)

$3000 plus shipping

September 2005 #170
Sitka spruce soundboard
Australian Blackwood back and sides
Big Tone pick-up installed
gold Schaller tuners, brass S tailpiece
Deluxe Koa binding
10th fret position marker
Nut 43mm wide, 12th fret 55mm wide
new hardshell case

small phinholes and dings on top of headstock (I chronically bump into things with my headstock, and to add insult to injury, my cat likes to test chew the headstocks of any guitars I leave lying around the house. Needless to say, I don’t have any guitars at home any more…)

Part of this is historical: silver plated copper or steel was the current string technology in the earlier years of Jazz guitar, and it is integral to Django’s sound.

Tradition aside, most players using Maccaferri style guitars prefer the sound and response of silver plated copper or steel.

Bronze, Brass or other bell-related metals can produce some tonal depth and sustain not offered by silver plated copper strings. However, these qualities do not necessarily play to the strengths of a Maccaferri style guitar.

Based on experience and anecdotal evidence, Bronze wound and Silver plated Copper wound strings also seem to have different attack/decay envelopes. Silver plated Copper seems to have a slighter quicker response, which is ideal for these guitars and also the approach to playing in Gypsy Jazz.

Bronze strings are ideal for Martin style guitars, for example, which are constructed to optimize the qualities of that string material, which include booming bass and sustain. The sweeter tone and quick attack desired in a Maccaferri style guitar is not as achievable with bronze wound strings. Silver plated copper sacrifices some sustain, but offers the response and attack normally desired in a Maccaferri style guitar.

One should never discount the potential versatility of the Maccaferri design. They have more ’sweet spots’ than they are given credit for. For example, they make excellent finger style instruments. But in any case, their tonal identity and responsiveness is generally considered to be best realized with lighter silver plated copper strings.

Heavier strings (guaged .012 or more) may offer a bit more volume (admittedly, always useful in a jam session), sustain and bass response, but these qualities are generally not considered worth the trade off for the comparative brightness, responsiveness and flexibility of lighter strings.

Optimal sound and responsiveness is achieved in a guitar when the construction is closely matched to the anticipated tension load from the strings. Most Maccaferri style guitars are built to respond optimally to lighter strings.

Heavier strings are not just harder to play, over time the load from heavier strings might also take some toll on the instrument. A heavier construction would accommodate heavier strings, but only at the expense of some of the crispness, brightness and response usually desired in these instruments.

The effect on a D hole is subtler as the air flow is already maximized by the original design.

In both cases there is noticeable better monitoring for the player, again more pronounced with an oval hole, where there is noticeable air stream displacement from the side port.

On an oval hole model a sound port also allows many of the trapped overtones and lower frequencies to escape, adding sustain and a wide range of color. This effect is harder to detect on a D hole.

However… logical arguments can be made either way:

The cleaner articulation and brighter sound of an oval hole is also a desirable quality for rhythm playing. For a good example, listen to Angelo Debarre’s striking rhythm playing on any recent recordings.

The richness of a D hole also provides a wonderful palette for lead. Examples include Django’s early recordings, and some of Bireli’s recent work.

On a 12 fret model, the bridge is mounted a little further back (2 frets distance) on the top. This places the bridge at the widest part of the body, which maximizes the transference of vibration between the bridge and top, offering a bit more volume and depth.

The 14 fret neck join offers a logical advantage for lead. Greater fret access is generally considered worth any small sacrifice in volume.

These are just some factors to consider, every combination of these elements has worked well in either context. Your choice of sound hole should really be based more on the sound (see above)you prefer, than on necessarily conforming to established roles for the various models.