Moffa Acoustic Mithra, 2018

Several years ago, I asked Nico Moffa if he would consider building a fully hollow-bodied version of his stellar semi-hollow Mithra model. Considering that Nicco makes some of the finest archtop guitars anywhere in today's golden age of lutherie, I figured a hollow body was just a natural step in the Mithra's evolution. I love small body archtops. They are very ergonomic and, when masterfully done, eminently usable. Smaller archtops tend to be less prone to feedback, have a more focused amplified tone, and are easy to get around. That all puts a smile on my face. When this, the first Mithra hollow body arrived, it was everything I had hoped it would be. But as is typically the case with a Moffa, it sold within days. The truth is, I don't even think I had a chance to list it on the site.

Good news: It's back at CR Guitars and looking for a new home.

The condition on this Mithra is excellent, with a few minor inconsequential dings on the body, mostly visible under direct light. None of them breaks through the wonderfully rich violin burst, hand-rubbed finish. The neck is as clean as when I first opened the case. The playability and tone are terrific; this is a serious professional instrument with no extraneous or unnecessary frills. Everything here counts and was meticulously thought out, from the seductive medium C neck profile to the hand-wound pickup that Moffa sets on the top. Nothing fights you; every angle is purposeful and comes together in one brilliant 14 3/4" archtop guitar. Well done, Nico Moffa!

If you'd like to find out more about this item, just call or e-mail me. It would be my pleasure to talk to you about it.

ABOUT MOFFA GUITARS
Nico Moffa's guitars were first noticed when Kurt Rosenwinkel started playing them. Nico comes (in the craftsmanship sense) from the long tradition of Italian violin and cello making. His aim is to give guitars the nobility of those instruments - in their pure acoustic sound, and in their aesthetics as well. He favors minimal elegance - no fretboard dots, no inlays (whether mother of pearl or plastic), and you can see the elegance radiating from the instrument. It’s simply a beautiful object. But beyond that, Nico’s finishes are recipes based on those used for violins, cellos, etc., as he believes that is the best means of allowing the wood to resonate at its best. Further, the colors are natural and obtained from vegetable extracts, which allows for great nuance. Beyond that, the color and the finish are a complete entity - there’s no “paint” involved. Those finishes, in Nico’s opinion, give the instrument a warmth that is more typical of the way instruments used to be made. A pre-industrial look, as it were. The guitars themselves, while crafted following traditional means are anything but that in use.