The Mirabella “ Blue siren” Crossfire

[QAman]

Being a native New Yorker does come with some benefits. One of those treats is being surrounded by some of the best guitars in the World. From the shops in Manhattan , to local dealers like my good friend Larry Wexer - and the captivating workshops of some renowned Archtop luthiers on Long Island.

When it comes to the finest “NY styled” Archtop guitars - it’s history and journey begins with D’Angelico’s built in NY City on Kenmare Street, to the D’Aquisto’s built in Greenport, to the Monteleone’s of Islip , the Trenier’s of Wesley hills (now Uzes France) and the Mirabella’s of Smithtown. Seeing the tradition sustained - is not only remarkable , but a true testament to the passion of each Artisan who continues to retain and evolve certain aspects of the design. I’ve been blessed to have owned, played / heard numerous examples of these guitars for 4 decades. The aforementioned is certainly not inclusive of all the other great Archtop builders - but of those I personally admire.

The other day Cris Mirabella asked me to swing by and check out the “ Blue Siren” before its headed off to the owner of the “ Blue Guitars “ collection . Cris has invited me to play many of his guitars over the past decade - and he’s always seeking my feedback. Giving feedback can be a tricky thing - it’s based on trust and honesty - and I’m honored that Cris respects my opinion to seek that information.

Over the years , I respectfully nudged Cris to make the guitars lighter in certain areas …..to liberate more of his signature tone and push the boundaries of his comfort zone. The Blue Siren screams these changes.

As soon as I picked up this guitar, I felt a reduction in weight, from past Crossfires , I noticed beautifully shaped long delicate tapering of internal braces and a slightly thinner top, and a lower frequency tap tune on the back. These are characteristics I always assess before even strumming one chord. The neck happened to be carved perfect for my hand - and with all Mirabella’s - the fit, finish and attention to the slightest detail is never overlooked. The interior has a slight glossy sheen with not a trace of glue or dust anywhere……..just immaculate.

The most impressive thing I noticed was the responsiveness to the slightest touch - which is indicative of the top and back plate working in unison. The warm , creamy pianistic voice was loud and clean , and pouring out
like no other Crossfire I’ve heard. To say this was the finest Mirabella I’ve played is an understatement - and a result of Cris pushing the boundaries. I was quite overwhelmed. It was one of the finest modern Archtop (solo style ) guitars I’ve played.

A huge two thumbs up to Cris Mirabella. Jim D’Aquisto would approve !


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[Woody Sound]

Just don't get your fingernails caught on that fingerrest!

[nyc chaz]

I'm sure that guitar sounds and plays great,but that fade coloring and miniscule pickguard totally kill the aesthetic of that guitar for me.

[ThatRhythmMan]

I got to play it as well, although not in ideal conditions for listening to it. It’s a gorgeous build for sure. Cris does simply stunning work.


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[wintermoon]

"Giving feedback can be a tricky thing - it’s based on trust and honesty"

If I'm being honest I'm w nyc chaz on this one. The guard doesn't bother me, however that color/shading scheme isn't for me.
That was my initial reaction and I tried to keep an open mind and came back to this thread for a second look and my opinion hasn't changed. Taking the blue out of the equation and envisioning a traditional color I probably still wouldn't like it.
But I guess the important thing is customer approval. Hope he likes it....