Max Amberger 1875
In 1862, during the golden age of zither making, the young instrument maker Maximilian Mathias Amberger (born in 1839 in Munich) founded his workshop in Munich.
As a former student of the renowned instrument makers Georg Tiefenbrunner and Anton Kiendl, he crafted zithers and violins, as well as guitars and lutes. In collaboration with his friend, the zither virtuoso Franz Xaver Steiner, he developed the first concert zither in the early 1860s — in the form that is still used today.
After Max Amberger's death in 1889, his son Heinrich took over the family workshop and continued its operations until his own death in 1910. Afterwards, management was assumed by his widow. Eleven years later, guitar maker Hermann Hauser I took over the workshop and continued to run it for some time under its original name. To this day, Amberger instruments are still highly valued by musicians and remain a prominent part of numerous museums and instrument collections worldwide.
Between 2006 and 2007, eight models of the Max Amberger CCJ582 were built and provided to artists in order to gather extensive experience with the instrument through chamber music concerts, large pop performances, and studio productions. One of the Max Amberger CCJ582 guitars from 2007 even found its way into the prestigious Russell Cleveland Collection.
Link: Russell Cleveland Collection
Link: Russell Cleveland Collection
All Max Amberger CCJ582 guitars built from 2018 onwards are based on the 2006 prototype by Hermann Hauser III. Their design and construction do not follow fleeting trends, but instead reflect the exceptional craftsmanship of Hermann Hauser I, who demonstrated excellence even in this segment of guitar making. The CCJ honors the achievements and instruments of Max Amberger, while also meeting the demands of modern guitarists, musical styles, and playing techniques.
The Max Amberger CCJ582 is crafted exclusively using the wood combination found in the Hermann Hauser I prototype and earlier Max Amberger guitars, consisting of selected maple and spruce. No tropical woods are used for the bridges or headstocks of the guitar.
