WHY AND HOW

Guitarists have always lamented the low sound power of the guitar when compared to that of other instruments.

Although praised for its timbre and colour qualities, dictionarities describe it as a "private" instrument because of its small voice.

The problem appears even more clearly when the guitar is played together with a flute or a violin, its sound remains confined to the background, overpowered by the volume power of the other instruments, and the guitar, forced as it is to play as loud as it can, looses also its magic timbre.

This is a great drawback as music for guitar and other instruments, which appears particularly attractive in score reading or in recordings, is always a disappointment in live concert.

Generations of lute-makers have tried and are still trying to solve the problem.

The first step was taken by Antonio de Torres Jurado, who gave the guitar a larger size and a stronger sound. In the twentieth century, Hermann Hauser and José Ramirez, whose instruments were played by Andrés Segovia, made further important progress.

But in spite of the many attempts and experiments, the guitar is still subject to other instruments, as the actual increase of its sound power is not sufficient to bear comparison.

It was in this situation that Michele Greci began the researches which brought to the invention and the creation of his "Greci" guitar. The sound power of the Greci guitar is more than double when compared to any traditional classic guitar of high quality, and offers a vast harmonic range and a long duration of sound.

Thanks to these revolutionary qualities - tested in acoustic laboratories - the Greci guitar can play on equal terms with all other instruments, and has acquired the characteristics of a real concert instrument, without any harmonic, phonic or dynamic failures: the guitar has gained a new and stronger musical personality which points to further evolution.

The Greci guitar would like to be a starting point of a new and exciting moment in the history of guitar.

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