When I was just starting along this path in 1995, I remember seeing an amazing instrument by John Monteleone called the "Montequisto". This was John's tribute to one of his heroes, the late James D'Aquisto. I was struck by it's simplicity and elegance, the use of sculptural wood fittings in place of traditional metal ones. It kind of blew my mind.
My latest creation borrows heavily from this timeless instrument - the D'Aquisto sculpted ebony bridge, the carved tailpiece of macassar ebony, the elliptical side soundports. Rather than make another archtop guitar, I decided to make this with a mandocello neck. Seldom seen these days, the mandocello is a instrument that gained popularity in the early 1900's, when mandolin orchestras were all the rage. Tuned like a Violoncello with a low C, it has a thunderous bass and haunting sound. It is a surprisingly versatile instrument, with a unique voice that is great for accompaniment and songwriting. Thanks to Mr. Monteleone and Mr. D'Aquisto for the continued inspiration, and to my friends and family for their unwavering positivity.
This is the Monte'cello, celebrating 20 years of Sanzone Guitar & Mandolin!
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| Sanzone Monte'cello 2015 - available at www.dreamguitars.com |
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| An X-braced one piece Sitka spruce top sourced from doublebass wood, D'Aquisto style bridge, and Monteleone inspired tailpiece. All are carved by hand. |
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| Peghead in macassar ebony with a hand-cut Paua abalone logo |
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| Elliptical side soundports help direct the sound to the player's ear, and they look way cool. |
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| A sitka spruce backplate transmits a lot of energy, in this case contributing to the big bass response. This is a nod to Lloyd Loar, who experimented with spruce backs in the 1930s. Koa bindings frame the macassar ebony rim beautifully, and the all-natural shellac finish adds a warm color while optimizing tonal response. |
