Giancarlo Nannoni, 2026

We are very pleased to offer this 2026 Giancarlo Nannoni "Maia," built to our specifications by one of the most compelling luthiers working in Italy today.

Before the top, before the back and sides, the rosette is what caught our attention first. We told Giancarlo early in our conversations that his rosette was what first drew us to his work, and in person it is exactly as striking as we hoped. Bright greens and blues in a simple, refined pattern. The tie block and purflings are deliberately understated, so the rosette reads as a clean pop of color against the rest of the guitar rather than competing with it. It is one of the rare rosettes that uses bold color without feeling overdone.

Under the top is a minimalist lightweight lattice bracing so subtle it barely reads as lattice at all. The guitar is very alive. And for a brand new spruce top, it opened up faster than expected. Within a few minutes of playing, it found its voice.

Specs

Maker: Giancarlo Nannoni
Model: Maia, Contemporary Model
Year: 2026
Top: 30-year-old Swiss spruce
Back and Sides: Cocobolo
Neck: Spanish cedar
Fingerboard: Ebony
Bracing: Minimalist lightweight lattice
Scale Length: 650mm
Nut Width: 52mm
Nut String Spacing: 43.5mm
Bridge String Spacing: 59.5mm
Weight: 1,610g
Tuners: Alessi (Italy), black rollers
Finish: French polish (shellac)
Action: 4mm bass / 2.8mm treble
Strings: D'Addario XTC45FF with a Pro-Arte nylon first string (ddar.io/guitar-collection)
Built For: GuitarCollection.com

Sound

For a brand new spruce top guitar, the expectation is that the instrument needs time. The "Maia" did not wait. Within minutes of playing it, the guitar woke up and started singing, with a full, hum-like quality that settled in and hung there. The overtone complexity is immediately apparent and already remarkable.

Going string by string: the first string is open and colorful, with a wide palette of tones and an attack that is clean and immediate. The second string is beautifully balanced, warm and present. The third string is the standout of this guitar, and it is hard to overstate: rich, charming, responsive, and dimensional enough that you will spend far more time exploring it than usual. The fourth string is warm and charming, with good body. The fifth string is already very open for a new instrument and noticeably sensitive to dynamic changes and touch. The sixth string is deep and resonant, with the kind of fundamental that hangs in the room even after you have moved on to the next phrase.

This is a guitar you feel supported on. When you commit to a note or a long phrase in the bass, the fundamental is there with you the whole time, holding the line. It responds beautifully to the flesh of the fingers and rewards a slower, more generous approach to phrasing.

What makes this guitar unusual is that it does not sound like a generic lattice instrument. The bracing is so minimal it barely reads as lattice at all, and the result is warm, musical, and traditional in character, with the extra power and projection of a modern design always available when the music calls for it.

Playability

Traditionally built with no raised fingerboard. The neck is medium, not thick and not thin, and comfortable for most players. The action is set to a low and easy specification, very responsive even when driven. One of the pleasures of this guitar is the bloom: the full tone of the note reaches its potential a few seconds after the attack, which encourages a slower, more generous approach to phrasing.

Note: this guitar has no side fret dots, which is a maker's choice. Stickers or a small dab of white-out are an easy solution for players who rely on them.

Aesthetics and Craftsmanship

The 30-year-old Swiss spruce top is well-chosen, with fine grain that reflects the age and quality of the wood. The cocobolo back and sides are rich and warm: reddish tones that glow, not flamboyant, with a natural sapwood stripe running down the center that gives the guitar a distinctive and refined look. The ebony fingerboard and simple bindings keep the aesthetic clean and balanced, letting the rosette and the wood do the work.

The finish is French polish in shellac, adding warmth and giving the guitar the refined look of a serious handmade instrument. The Italian-made Alessi tuners with black rollers are a classy and well-suited choice for a guitar at this level.

Final Thoughts

The Nannoni "Maia" does something unusual: it sounds bigger than you expect, opens faster than you expect for a new spruce guitar, and rewards exploration across all six strings. It is a compelling entry point for a handmade Italian concert guitar from a luthier whose work is worth knowing.

If you're interested in purchasing, please write to us at evan@guitarcollection.com

Brand new, built specifically for GuitarCollection.com in 2026.

The name "Maia" comes from Greek and Roman mythology. Maia was the most beautiful nymph of the Pleiades, and was transformed into a star at the request of Zeus, king of the gods.