m. e. brune Flyin' Venetian

Marshall Bruné “Flying Venetian Model”  (U.S.A.) No. 18, 647 mm scale (25 1/2”), 45 mm nut (1 3/4”), spruce top, walnut and maple domed back, walnut sides, Honduras mahogany one piece neck with black ebony fingerboard, rosewood bridge with hand made lemonwood pins inlaid with MOP dots, gold plated Grover tuning machines, hand applied special proprietary finish.  The neck has a two way adjustable truss rod, and the instrument comes with two saddles and nuts to permit using either steel strings OR nylon strings.  The “Flying Venetian” name derives from the Italian origins of these  “Viennese” models which were first known as the “Legnani model” after the Italian virtuoso Luigi Legnani.  This Legnani model has literally “flown” around the world, where it took root in Europe, America and other continents.  This revolutionary new design created by Marshall Bruné is derived from the Viennese models made in the mid 19th century by Stauffer, Scherzer and other leading Viennese makers, which were also the original basis for the early guitars of C. F. Martin Sr.  Like the original 19th century models, the Flying Venetian also has a bolted on elevated neck with cantilevered fingerboard over the body which is easily adjustable to set the action without loosening the strings or touching the bridge saddle.  Carrying this design into the 21st century Marshall has included the patented (USA Patent No. 5,952,591) Thurman multi-dimensional soundport in the form of the “Biteaway” which is an original creation of the Bruné workshop.  The biteaway allows all the acoustic benefits of the Thurman multi-dimensional soundport with the ergonomics of a cut away, making playing on the upper frets exceptionally easy.  In addition, the instrument has 14 frets clear of the body in keeping with modern steel string convention.  Further inspired by the 1863 Antonio de Torres which was restored in the Bruné workshop, this instrument is also devoid of any interior bracing save for two cross struts on each side of the sound hole.  The benefit of this is the greater depth and balance of the bass against the treble, which is quite remarkable.  Now 4 years old, the top is still in perfect shape with absolutely no hint of any twisting or distortion thanks to hand calibration of the top thicknesses according to the principles we discovered from examining Torres’ original work, which has survived over 150 years.  This revolutionary new model has found acceptance among a wide range of modern steel string players from flat pickers, blues, bottle neck, and bluegrass to Django Reinhardt gypsy jazz players, for both lead and rhythm lines.  It is a remarkable marriage of informed history and modern innovation which promises to advance the art of the guitar into entirely new territory.  Price for a current order is $10,000.

R. E. BRUNE NO. 749

 This instrument is the next evolution in classical guitar.   If volume is your main concern for concert hall projection, this is the instrument for you.  Two curved braces produce an incredibly loud guitar with a clear and brilliant sound.  Inspired by a bracing system I developed for guitars made for David Starobin, this instrument carries that concept to a new level.  Colorful, brilliant, with tremendous dynamic range, this instrument will impress the most demanding concert artist.  Cedar top, Madagascar Rosewood sides and back, 650mm scale, 51mm nut  SOLD