2018 Jean Rompré SP/ME

This 2018 Jean Rompré is a classical guitar with a spruce top and a domed Makassar ebony back and sides, built in Quebec, Canada – a very loud concert guitar that blends the ideas of Daniel Friederich and Simon Marty.

Friederich Meets Simon Marty

Canadian luthier Jean Rompré sees his current style of build largely as a fusion of the work of Daniel Friederich and Simon Marty. This guitar has a Marty-like "double-fan" bracing system, with struts on either side of a thin, sculpted bridge brace fanning away from the bridge area. Additionally, there are some internal carbon-fiber reinforcements topping some of the braces, as well as in front of the bridge, for added (and lightweight) strength.

Domed Makassar Ebony Back and a Cedar Tornavoz

Notable features of Rompré's style include a domed back – here carved from a beautiful set of exotic Makassar ebony – which he believes helps produce additional power (this is a very loud guitar!), an elevated fingerboard, and a carved headstock: an aesthetic "nod" to Daniel Friederich. Tuners are custom-designed Rodgers. The soundhole is also fitted with a cedar "tornavoz", which allows Rompré to lower the body resonance to his taste in the final phases of construction.

Sound and Condition

This guitar has a thick, overtone-rich sound with snappy response and impressive volume. Condition is excellent, with only some minor wear in the finish. Overall a very strong instrument that could easily fill any concert venue.

Orfeo article on the classical guitar in Quebec

Jean Rompré: Classical Guitar Maker in Quebec

Jean Rompré is a Canadian classical guitar maker based in Saint-Majorique-de-Grantham, Quebec. He sees his current style of build largely as a fusion of the work of Daniel Friederich and the Australian maker Simon Marty: a Marty-like bracing system combined with Friederich-inspired details such as the elevated fingerboard and carved headstock.

Notable features of Jean's guitars include a domed back, which he believes adds power, light carbon-fiber reinforcement of some braces, and a soundhole "tornavoz" that lets him tune the body resonance to his taste in the final stages of construction. His work was featured in Orfeo Magazine No. 18, dedicated to the classical guitar in Quebec.