Moffa Dark Lorraine

Nico Moffa is a true master. He comes from an old-world master craftsman background, working in a country with perhaps the richest tradition of stringed instrument making in the world. In his dedication to getting the utmost from his creations, Moffa winds his own pickups and mixes his own finishes to optimize the instrument's beauty while not smothering the guitar's tone. Yet that dedication to craftsmanship and tradition doesn't mean he gives up anything to modern playability and innovation.

I don't think you'd need any more proof than this splendid brand new Dark Lorraine. It's an ideal semi-hollow model, poised perfectly between acoustic and electric.

From the moment you pick this guitar up, you'll know this is entirely hand-made by a builder with a singular point of view (and the means to achieve it) about the heights a semi-hollow guitar can reach. The sound is unique (he's not copying anything), alive, and oozing with character. Nico is very conscious of the player and how they interact with the guitar. The Dark Lorraine is exceptionally comfortable and ergonomic. I just love the neck. It's a perfectly carved, medium elliptical C. It's just super player-friendly.

Speaking of players, Kurt Rosenwinkel and Wolfgang Muthspiel are among the pros who use Moffa's guitars.
I am a huge fan of this stunning-looking guitar. As usual, Nico's artistry is nonpareil. It has a seductive and unique design. (Check out that incredible violin-style "binding.") And it's simply a pleasure to play (and hear) plugged or unplugged.

For all of the reasons I've listed before, the Dark Lorraine is Nico's most popular and highly sought-after model. It's definitely a guitar I'd want to keep for myself.

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.