Grande bouche guitars

Patrick

Hello folks,

Just wondering if some of you play Grande bouche and why ? What is the difference in sound, power and tone compared to a petite bouche ?
I playes some and found the trebble to be disappointing as they often vibrate in a weird way.
Also are there some luthiers that you recommend that build better Grande Bouche guitars than others in therms of tone quality. I already have a petite bouche and am considering buying an additional guitar. The Grande Bouche may be a better complement to my current guitar but I like to solo so I need a hybrid 14 fret model.

Thanks for any comment, suggestion or recommendation on this.

Patrick
Paris, France

Charlie Ayers

I like D holes for their midrange, which is great for rhythm playing. I think the D holes I've owned/played have been louder than the oval holes I've owned/played, also.

In my mind the 12 fret models are quite different than the 14 fret models. The 12 fret model, as designed by Maccaferri, has a shorter scale than oval hole instruments, and different bracing, both of which affect tone.

14 fret, long scale models are braced the same as oval hole instruments by at least some luthiers; the longer scale on these influences the tone, as does the bridge position, which is different than that of a 12 fret model.
I think 14 fret, long scale D holes tend to sound somewhat between an oval hole and 12 fret D hole in terms of tone.

FWIW,
Charlie

Patrick

Hello Ted,

Thanks for your input. I think I saw your grande bouche on the AJL website: it's a true masterpiece of luthery it seems... maple back and sides...
Anyway, that's exactly what I'm trying to have: both an oval hole (which I already have and love) and a D-hole so that depending on the context and maybe mood I can take whatever feels better in the moment. But, since I play mainly lead, I must say that in the beginning I'm an oval-hole type of guy. So finding a decent D-hole to my ear is quite a challenge cause I'd like it to still have tight trebbles but an enormous warmth in the mid and bass range. Also, I like a good projection and some D-hole tend to have so much sound out that the sounds just leaps outside the guitar but will not be heard in the distance.
Maybe a good compromise would be a D-hole with a slightly smaller D (just slightly might change quite a lot of things I'm thinking).

also, in your experience have you noticed bigger differences in D-hole guitars between the ones that are laminated b&s compared to the ones that are all solid ? with oval hole type of guitars I found out that the tone difference in not a big deal in the end, whoever the luthier ?

Thanks again for your input and the other also.

Patrick.

Charlie Ayers

Hey Patrick:

You might want to try a Favino (which I think Ted plays) or Favino copy. They have oval holes but more bass and midrange, in my experience, than Selmer style guitars. They have a larger body and different bracing.

Charlie

Patrick

Thanks Charlie for the suggestion: that's one thing I want ot do indeed. I've heard they have a fatter tone even thougb they are oval hole. Maybe that can be a good compromise.
there's even a young luthier down who now makes great copies of Favinos I've heard: his name is Alain Mazaud and people rave about his guitars. Maybe I should try and play either a real Favino or at least one of the faithful copies to get a more precise idea.

thanks for the input.

Patrick.

Patrick

Hello Ted,

Thanks for the sound advise again. Sorry for being mistaken with your guitar: I just thought it was your name I had seen as the owner, but anyway...

Have you learned about the Dupont Grande Bouche at Oldies recently. Do you think it's still there ? If so I'll give it a try this friday. But I tried many times to visit their website recently and it doesn't work. Maybe the addresse has changed: I'm using www.oldies-guitars.com Is that incorrect ?
The sound chamber is a bit frightening cause, having talked with Maurice Dupont about it, it's a bit tricky to adjust and needs some regular adjustments. Plus, from his point of view it doesn't bring much, except a slightly more sustain (is noticed at all). But at least I'll have an idea how the JJ model sounds.

Favinos are great guitars: old or new. But Favino is expensive nowaday I think. And I've had some experiences in the past with custom orders with luhtiers whose guitars I had to sell afterwards cause it was not the tone quality I had expected or at least not the same as the one I had tried on a similar model. So now I'm more in the mind to try guitars out directly and if it sounds right, I buy: no risk.

I'll keep you informed if the JJ model is still at Oldies and I get a chance to play it.

Take care,

Patrick.
Paris, France

Patrick

Hello Ted,

Here's the URL: http://www.ajl-guitars.com/glsm.htm
The guitar is awesome looking and for some reason I've mistaken the owner's name with yours. Go figure: not much in common indeed. Sorry for that again.

I know AJL had a booth at Samois last year and they may be there again this year. Haven't tried any of these guitars yet though. Hope to do so next time.

Take care,

Patrick.
Paris, France

Passacaglia

TedGottsegen wrote:

Patrick wrote:

there's even a young luthier down who now makes great copies of Favinos I've heard: his name is Alain Mazaud and people rave about his guitars. Maybe I should try and play either a real Favino or at least one of the faithful copies to get a more precise idea.

I've played his guitars (and Patrick Saussois played one for a while, too) and they have that classic, dry gypsy tone - sort of like a combination of a good sounding DiMauro and a Jacques Favino. I have heard that he is inconsistent as a builder, though, so check them out before you guy.

Ted

Inspired by some thoughts by a few, generous folks, I'm looking for a luthier made instrument, in a true Favino mode. Rodrigo Shopis figures heavily, but as well, a recent suggestion has led me to Mazaud's Vieux Paris, which though it has the look of a Selmer-Busato hybrid, and is in my opinion stunningly beautiful, well - sure sounds deep, dark and rich, nothing like what I normally associate with Selmer or Busato (admitting I have not listened to nearly enough guitars).

I know a few here have played it, but anyone have experience with this guitar? Your thoughts? Does anyone happen to know, does he build them to order, with measured $ down, like some other Luthiers (e.g., AJL), or are these typically in stock, ready to go?

Thanks guys,

Paul

Jazzaferri

One of the most amazing guitars I have ever played is a grand bouche with resonator built by Michael Dunn.

I played for nearly a year but had to give it back to him. I could not get him to sell it as it was his personal guitar.

Unbelievable sound from a sort scale big mouth, beautifully balanced, responsive, loud, ahhhh....the devil in me says i should have told him I lost it and I sent him money instead.

Archtop Eddy

Paul, if you're asking about Mazuad's Vieux Paris Model, here's what he told me in an email 6 months ago back in May 2012: (I recommend you contact him directly for current info but this should serve as a ball-park for price/options) AE

His comments are in UPPERCASE...

CHOICE OF WOODS:

CURLY MAPLE
DAPPLED MAPLE
INDIAN ROSEWOOD
BRASILIAN ROSEWOOD (RED/ROSE)
BRASILIAN ROSEWOOD (DARK / BROWN, VERY RARE: ADD 305 $)

PRICE: 5100 $ (HISCOX HARDSHELL INCLUED)
THE DELAY FOR OWNING IT IS 2 TO 3 MONTHS NOW (Note: Back in May 31, 2012; timeline might be different now).

ANTIQUE PATINA FINISH IS USUAL ON VIEUX PARIS MODEL (WITH OXYDED MACHINE HEADS AND TAILPIECE). YOU CAN CHOOSE THE DEGREE OF PATINA : VINTAGE FINISH, ANTIQUE FINISH.

Jazzaferri

I love the look of a grand bouche. So distinctive. I can still picture in my head the first time I saw a picture of django with one 45 years ago. I thought it the coolest guitar ever