The Maccaferri Resonator: pro and con

Charlie Ayers

This is one of the better threads I've read lately. As I'm thinking about ordering a 14 fret long scale D hole, your comments on the tonality of those is interesting, Scot.

Charlie

mmaslan

No, Django's grande bouche did not have the resonator, at least I have yet to see a picture with Django holding a guitar that could visibly be verified to contain one. But I have seen lots of pics where you can clearly see that there are no extra constructions in the soundhole.

Alas, Patrick's picture site is down, so I can't verify this. Are you certain about this Kimmo? Keep in mind that there were two different resonator designs, and one was less visible than the other, especially from straight on. You can see them on Paul Hostetter's site at the link I provided above.

It just seems unlikely to me that Django's guitar would have been markedly different from everything else Selmer made. After all, he endorsed these guitars, no? And I can't see why he'd remove the resonator because of buzzing when he could just get a new guitar whenever he wanted.

Incidentally, one of the Selmers on Paul's site with a resonator in it is a renecked tenor. So at least some of those must have had resonators too.

Here's what he says on his site about its effect:

The Internal Resonator, when it works correctly, has a profound and very salutary effect on the tone. It does not increase the volume but rather acts as a bass reflex, altering the EQ of the guitar. The Internal Resonator is a great deal of trouble to make and install, but well worth it.

This is in rather stark distinction to what David Hodson says on his site.

Thanks for all the informative posts!

Teddy Dupont

kimmo wrote:

. He either must have chosen ones without internal sondboxes or he tore them out himself.

I know, a LOT of the existing articles explain how Django's loud sound has the internal resonator to thank for (a false assumption that keeps repeating itself). It seems that although he didn't in general seem too picky about his guitars, this was one feature he really didn't like.
kimmo

I'm sure you are right Kimmo. The way Django treated his guitars, if he ever had one with an internal resonator, it would have inevitably shaken loose and been summarily discarded. He was apparently quite ruthless with his instruments. - Sometimes doing the most horrendous things to them to see the effect.

The significance of the resonator in Django's early playing is yet another myth.

campfire

Russell Letson wrote:

But Michael's target sound is not exactly Selmer-clone--his guitars are darker and sweeter, with none of the nasal gnashiness of, say, every Jorgenson model Gitane I've tried.

.

Russell,

I just recently purchased a new JJ modele Gitane. I also own a Rhythm Futur by Michael Dunn. I have previously also owned a Dunn Belleville and a Stardust. I also have a Shelly Park Encore, a Dell 'Arte Manouche, and a Gallato Daphne. I've also played many older Favino's, DiMauro's, etc. I'm just listing these to make my point, not brag.
Of all these guitars, my Jorgenson Gitane has the best "over-all" sound of any of them. "Nasal-gnashiness" is about as far away from a description of this guitar as I could imagine. I am totally impressed at the sound, looks, playability, and workmanship of this guitar. Saga got this one right. It is loud, but not harsh. It has a aweetness, like my Shelly Park. A very pronounced bass growl, and lots of warm mids. It really sings in the high register. My Gallato, on the other hand, definitely fills the nasal gnashiness quality you describe. Very bright and loud, and yes, nasaly. But I LIKE that, too. It's all good! For around $900. I think the Gitane J.J. model is the best Selmer-style guitar for the buck that you can buy. And BETTER than many costing 3 and 4 times as much. (Did I mention a big, flat, FAT nack?) Rant over.

Larry Camp

Samick Westone

Hello,

This is my first post.

I have played a number of Selmer originals with and without internal resonators.
The evaluation of sound is always difficult and obviously further factors like strings, set up, the room, how much I've had to drink etc mean that it is difficult to arrive a definative answer. In my experience the resonators do not make the guitars louder but do alter the balance providing a more powerful mid range.

I currently own an ancient Grimshaw grande bouche style copy and a Gitane John Jorgenson model. My JJ Gitane is a fantastic instrument in terms of sound, cosmetic appearance and workmanship. Really this guitar has an unbelievable sound for the money. I have only played on one example of this instrument and so I can't speak for them all but mine is incredible; obviously I have had to do some adjustments to get the most from the instrument but this beautiful guitar cost me less than any other instrument I have ever owned....

Perhaps someone who owns a variety of instruments could record them all under the same conditions and we could do a blindfold test??? What do you think?

Russell Letson

Just reporting what I heard from the one I played at DFNW last fall (one of the prototypes?) and a couple that showed up in Mpls (with stock setup and bronze strings, which may contribute). And then there's the matter of my own hands, which have a hard time with petites bouches. I didn't hear that sound from Jorgenson's own instrument, which reinforces my suspicions re: player input. No pissing match intended--I'm just mapping variables.

kimmo

mmaslan wrote:

Are you certain about this Kimmo? Keep in mind that there were two different resonator designs, and one was less visible than the other, especially from straight on.

Yes, I'm certain that I have yet to see a picture with Django holding a guitar that could visibly be verified to contain one. Of course it doesn't mean he never played one, it just means there's no proof that he did. Untill that proof emerges, I'll go with Scot and Teddy on this too.

Yes, there were two types of resonators for two types of guitars. The round-holed model Espagnol had less space in its body and soundhole, so the resonator had smaller two-part opening and it didn't contain the tongue in the neckside.

mmaslan wrote:

It just seems unlikely to me that Django's guitar would have been markedly different from everything else Selmer made.

In fact, Francois Charle writes in his book:

F. Charle wrote:

The jazz models needed good projection of the sound and Maccaferri himself admitted that the soundbox did not make any positive contribution to this.

Again according to Charle, most Selmer/Maccaferris today don't have the box "either because they never had one or because it was subsequently removed." So if Django's guitar didn't have one, and I doubt it ever did, it didn't actually make it "markedly different from everything else Selmer made".

Kimmo

chap

In looking at violin construction, one of the crucial factors is the use and position of the post. I wonder if MM ever experimented with the use of a post with a resonator model. Of course it would completely deaden the top with a conventional guitar if the back was deadened against the body of the player, but with a resonator model it seems like you could possibly radically increase the use of that additional soundboard since it is relatively freefloating.

rino

HI There
Interesting discussion about resonator maccaferri guitars.
I remember playing two of Fapy's original maccaferri's with resonator and they had the most beautifull sound i ever heard.
I had several d-hole copies but all where very un-even in sound.
esspecially the not B on the sixth string.
Once amplified this really gives an anoying boom.
You are sitting in a dome of sound.
From a distance you do not even hear the guitar anymore.
Complete the opposite of a resonator.
The do a very good job in filtering the un-even notes and give the instrument a great projection. i,d never buy one without resonator.
The volume-well i would challenge some d-holes without a resonator to compare with mine.such a power and great tone.it really sings!!!!!

Jazzaferri

My Dunn Ultrafox has a resonator. The only thing I know for sure is it is very particulsr about onboard mics. It seems to prefer at least 10" between the sound hole and the mic...beyond that is each mic's placement needs.