Mr. President – 16″
This instrument was created as a tribute to the golden age of jazz and the masters who shaped it. Its inspiration reaches back to Lloyd Loar’s archtops of the 1920s, when the history of modern jazz guitar was first being written. Alpine spruce from the Italian Dolomites and twenty-year-old flamed maple provided the tonal foundation, but the true story began when the guitar received its name. Mr. President came to life on the very day of the inauguration of Czech president Petr Pavel – a symbol of dignity, strength, and new beginnings.
Sonically, it is an exceptionally responsive instrument, sensitive to every nuance of touch. In the hands of an experienced player, it rewards with quick attack and a full, projecting tone that evokes the classic recordings of Eddie Lang and his generation. The sunburst finish combined with a hand-polished spirit varnish of my own recipe creates a timeless elegance, while “ivory-like” celluloid bindings underline the authentic atmosphere of the 1920s.
Yet Mr. President is not merely an attempt at a historical replica. It is an interpretation – my personal imprint of more than twenty years of experience – that breathes new life into the classic form while adding modern playability and reliability. Today this archtop resides in Denmark with the brilliant musician Jonas Fromseier, where it continues its journey as a living link between tradition and the new generation of jazz players.
Mr. Sisyphus – 16″
A black top, cognac burst on the Lombardy poplar back and sides, and the iconic Charlie Christian pickup – at first glance, this instrument reveals its unique character. Mr. Sisyphus was born out of collaboration with Spanish luthier and designer Miguel Soler of Madrid. Mutual respect and a shared passion for detail resulted in an instrument where tradition meets contemporary interpretation. One of Miguel’s design elements was even directly incorporated, creating a bridge between the works of both makers.
The name “Sisyphus” carries a deeper meaning. It refers to endless work (such as polishing a black finish), perseverance, and the belief that the journey itself has value. Building an archtop is always a search for balance between form, sound, and aesthetics – an ongoing pursuit of perfection. This guitar embodies exactly that path.
In terms of sound, it offers a firm midrange, cutting highs, and rounded lows – ideal for both classic jazz language and modern improvisation. The black top adds visual depth and contrast, perfectly complementing the black-and-white character of the Charlie Christian pickup. Today, Mr. Sisyphus lives in Spain, where it forms part of the collection and working practice of one of the most respected masters of modern luthiery.
Siwa – 17″ / 7-str
A seven-string archtop is always a challenge: it must balance the extended range while preserving a natural tonal equilibrium. The Siwa model, inspired by the outlines of the D’Angelico New Yorker from the 1950s, turned this challenge into an opportunity. Named after the Slavic goddess of life and renewal, it symbolically points to light and purity, both in its name and its visual identity.
The blonde nitrocellulose finish reveals the natural figure of spruce and flamed maple. Thanks to the seventh string, the guitar gains uncommon depth and expanded harmonic possibilities – a voice that especially appeals to jazz musicians seeking richer chords and complex harmony. Its sound is clear, articulate, yet warm – equally suited for solo work and accompaniment.
Siwa was commissioned by acclaimed Armenian jazz guitarist Nick Ter-Hovhannisyan, whose request was for excellent playability, tuning stability, and ergonomics. The instrument is therefore not only a homage to history but, above all, a tool designed for a particular artist who can fully unlock its potential. It is a bridge between the tradition of the 1950s and the contemporary jazz scene.
Sir – 18″
Designing an original 18″ archtop required both courage and technical mastery. The shape of such guitars is notoriously complex – finding harmony between radii, arches, and a shorter scale length is no simple task. The Sir model is the result of this search: a distinctive instrument that does not attempt to copy the past but instead presents an original vision of the large-format archtop.
The transparent finish on spruce and flamed maple reveals the natural beauty of the woods, while flamed maple bindings add subtle elegance. Decorative elements draw from art deco: pearl block inlays, a uniquely shaped pickguard, and a headstock that connects the aesthetics of the 1930s with modern craftsmanship, while also nodding to the luthiery traditions of Schönbach of the era. In terms of sound, Sir feels monumental, yet retains delicacy and articulation even at the softest dynamics. Despite its large body, it may well be the most comfortable guitar ever to leave my workshop.
Equipped with a DeArmond Rhythm Chief, the instrument delivers the colorful tonal character known from the recordings of jazz greats. Bearing the name of its owner, Sir represents the peak of my original work – a fusion of tradition, experiment, and personal expression.
Venus – 14.5″
Venus is a slightly downsized hollow-body interpretation of the classic Gibson ES-175 format, yet with a character of its own. The smaller 14.5″ body gives it compactness and comfort, perfectly suited to players who need a stage-friendly instrument with quick response and easy playability. Its name refers to the goddess of beauty – a symbol of elegance that here joins with the strength and expressiveness of the jazz and fussion guitar. The warm reddish-brown finish easily evokes the feel of classic violin varnishes.
The all-maple body with ebony bindings and a mahogany neck lays the foundation for its distinctive sonic identity. A pair of Lollar Charlie Christian single-coil pickups in humbucker covers, set in custom ebony rings, provide a warm yet clear tone with authentic vintage character. Ebony knobs and Kluson Waffleback-style hardware underline the impression of meticulous craftsmanship.
Venus is an instrument unafraid of being smaller – yet its voice remains full, colorful, and ready to hold its own in any jazz context. It is a guitar that proves elegance and strength need not be opposites, but can exist together in harmony.
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