facilitated by a (then novel) cutaway in the upper right bout. These guitars were made in several versions, including gut string (classical), steel string, seven string (Hawaiian) and four string ("Grand" and "Ténor") versions, plus a special four string "Eddie Freeman" model (see below). Many of these guitars, produced during 1932 and 1933, were sold to the UK market via Selmer's London showroom (which also distributed the guitar to regional dealers) and it was during this period that the guitars became known as "Maccaferris" to Britons. Post-Maccaferri or Oval-Hole guitar Maccaferri designed the original guitars and oversaw their manufacture, but his involvement with Selmer ended after 18 months. Over the next few years, the design evolved without his input (including some transitional models with round soundholes). By 1936, the definitive version of the Selmer guitar had appeared, with an oval hole in place of the large D-shaped hole, no internal resonator, and a neck with 14 frets clear of the body in place of the original 12. It was officially called the "Modèle Jazz", but also known as the "Petite Bouche" (small mouth) or "Oval Hole". These later guitars also have revised internal bracing and a longer scale length of . The vast bulk of guitars produced after the Maccaferri period were sold in Selmer's native France; these later guitars are always referred to as "Selmers" (as are the earlier guitars by the French). While Maccaferri may no longer have been around (and his resonator had been abandoned), the later guitars retain many unusual characteristics of his original innovative design, including the cutaway, the world's first sealed oil-bath machine heads and a top that is bent, mandolin-style, behind the floating bridge — something that contributes to the guitar's remarkable volume when played. Use Before the advent of amplification, the Selmer guitar appealed to European players the way archtop guitars did in America: it was loud enough to hear over other instruments in a band. The "petite bouche" model has an especially loud and cutting voice, and remains the design preferred by lead players in Django-style bands, while the accompanying rhythm players often use D-hole instruments. (This was the lineup in Django's Quintette du Hot Club de France during its classic period in the late 1930s, and it remains the pattern for bands that emulate it.) Modern exponents of the style often amplify their instruments in concert, but may still play