Maximillian Rudd, Lineu Bravo’s Australian client, orders second guitar

Video recently published by Max overwhelmed luthier Lineu Bravo


The musician Maximillian Rudd, Lineu Bravo’s Australian client, studies Brazilian music and he is graduated at Melbourne Conservatorium of Music. Max liked his 7-string guitar that was made for him so much that he decided to order the second one, just like the other: with Indian Jacaranda Cedar. Now, he has one for tours and another one for recordings!

About Maximillian Rudd

Brazilian seven-string guitar virtuoso and vocalist Maximillian Rudd delivers a dynamic show of original music based on his eclectic array of Brazilian, blues and roots influences.

Maximillian Rudd is a young Aussie guitarist at the forefront of an international Brazilian guitar explosion. Alongside his Brazilian seven-string guitar, Maximillian is hard at the coalface, experimenting with the unlikely fusion of Latin American, jazz, blues and roots influences.

An accomplished guitarist with formal training in classical and jazz at the prestigious Melbourne Conservatorium of Music, Maximillian has extensively pursued the music of Brazil both in Australia and in South America. Maximillian’s sound is uniquely his own, arising from his eclectic musical journey, beginning the guitar at the age of seven and intensely developing his craft ever since. Maximillian’s edge resides in his undisputed instrumental ability, which has become the trademark of his live set.

Maximillian has played at some of Victoria’s premier music festivals, such as Port Fairy Folk Festival, Queenscliff Music Festival and St Kilda Festival.

Debut album Maximillian released in 2017

Playing a Brazilian seven-string guitar, Maximillian is undeniably a student of the ‘violão brasileiro,’ the great tradition of Brazilian guitar, taking his place as a burgeoning outsider amongst a lineage of Brazilian guitarists and musical innovators, from Baden Powell, to Raphael Rabello and beyond.

As an instrumentalist and occasional vocalist, Maximillian’s performance engages with seasoned ears, hinting at the ‘this and that’ of modern guitar culture, sewing it all together with the subtle creativity of an eclectic musical upbringing. The album draws together the ever-colliding worlds of the Americas, from New Orleans southward bound, rendering it a series of portraits within which listeners can glimpse the nuances of music’s global mobility in the modern era of mass media, from the personal perspective of a young Australian artist.


Maximillian Rudd and Lineu Bravo guitar

Maximillian Rudd ordered this first 7-string Lineu Bravo guitar with Indian Jacaranda in 2011. He liked it so much that, in 2018, he decided to order the second one with the same setting. Now, the musician has one for tours and another one for recordings!


Learn more about João Lyra’s career, Lineu Bravo’s client

João Lyra, who was born in Alagoas, is a multi-talented guy: musician, composer and arranger.

He started his musical career because he was influenced by his Family: his mom used to play “cavaco” and his brother encouraged him to play the guitar. In Maceió, he participated in many Brazilian Popular Music groups, however Choro and Bossa Nova have always been a priority in his musical life.

He studied classic guitar with José Carrion and he used to lesson at Pernambuco Conservatorium of Music. Besides, João has also taken part in Pernambuco “Cordas Dedilhadas” Orchestra.

He was also a member of Nana Caimmy band and, along his career, he has recorded with many artists such as: Gal Costa, Gilberto Gil, Djavan, Ivan Lins, Elba Ramalho, Chico Buarque, João Bosco.

João Lyra and Lineu Bravo guitar/Picture: João Lyra

João Lyra and Lineu Bravo guitar/Picture: João Lyra

João Lyra and Lineu Bravo Guitars

João Lyra is one of the few artists who have two guitars made by luthier Lineu Bravo. In 2006, the luthier built a “Requinto” guitar and, in 2009, a 6-string “Abeto” guitar for the musician, who left a testimonial about his instruments: “I play the guitars made by the great Brazilian luthier Lineu Bravo. I have a “Requinto”, which is a preciousness, and a “Pinho”; this one from the picture. Another rare jewel! Have you ever seen anyone who was born speaking? That’s what happens to Lineu Bravo guitars! Overwhelming sonority! Congratulations, friend Lineu, you rock!”

João Lyra and Lineu Bravo guitar/Picture: João Lyra

João Lyra and Lineu Bravo guitar/Picture: João Lyra

Source: Mio Matsuda

About Lineu Bravo

Lineu Bravo is an autodidact luthier and fond of good music. From an early age he developed intimacy with wood at his father workshop. He built his first instrument when he was 14. Since then, his guitars, ‘cavacos’, mandolins and ‘violas’ have been purchased by respected musicians. Guinga, Marcus Tardelli, Marco Pereira, João Bosco, Yamandú Costa, Chico Buarque, Ulisses Rocha, Hamilton de Holanda, Ângela Muner, Rogério Caetano, Maurício Carrilho, Luciana Rabello, João Lyra, Maurício Marques, Edson Lopes, Alessandro Penezzi, Juarez Moreira, Fernando César, Jayme Vignoli, Flávio Apro, Giacomo Bartoloni, Swami Jr, Rosa Passos, Ana Carolina, Zé Paulo Becker, and Douglas Lora are some of them.

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In 1940, the rhythm becomes a Brazilian symbol

‘Samba’, the most popular Brazilian music genre, has European and African origins, but it has taken over the country with black culture symbols.

The word was first mentioned in 1838 in a newspaper of Pernambuco called “O Capuceiro”. In Rio de Janeiro, the word ‘samba’ appears only in the late twentieth century, always linked with rural feasts, the black community and Bahia.


This music genre started taking shape with urban characteristics and percussion instruments, and now it has been consolidated as the main music style of Rio de Janeiro.

The expansion of samba took place thanks to two aspects: the newly-launched radio and the encouraging to the carnival by schools of the time.

In the 1940’s, the rhythm became a Brazilian symbol and earned status and international fame. Nowadays, the world sees Brazil as the birthplace of Carnival.

The word ‘samba’ has created solid roots and, as a result, a lot of etymological branching, such as samba-choro, samba de terreiro, samba-enredo, samba de gafieira, samba-rock, etc.

The first composers have built a cultural legacy. Some of them are: Jozé Luiz de Moraes, o Caninha, Heitor dos Prazeres, João da Baiana, Pixinguinha e Donga.

The Samba National Day is celebrated on December 2nd and was created to honor Ary Barroso. Firstly, the date was celebrated only in Bahia, but it turned out to become national.

Source: Almanaque do Samba

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The luthier Lineu Bravo has been on the Workshop “7-String, technique and style”, that took place at the Eco Sound Studios, Rio de Janeiro. Rogério Caetano e Marco Pereira, acclaimed musicians and clients of the luthier, have delivered the event with mastery and Lineu was at disposal to talk about lutherie, the art of instrument construction.

Marco Pereira, Manoel Lopes, Lineu Bravo and Rogério Caetano at the Workshop / Picture:  Manoel Lopes

Marco Pereira, Manoel Lopes, Lineu Bravo and Rogério Caetano at the Workshop / Picture: Manoel Lopes

The event attended all the interested in 7-string guitar language, even the ones who don’t play the instrument.

“7-String, technique and style”, the book

The workshop was based on the book “7-String, technique and style”, written by Rogério Caetano in 2010 in partnership with Marco Pereira. The work is a method that approaches in details all the 7-string guitar technique mainly in “choro” and “samba”, Brazilian typical music styles. Rogério Caetano method is very helpful for those who want to learn how to play a 7-string guitar.

The book

The book

The book approaches all the 7-string guitar mechanics, as well as detailed explanations about scales, movements and cadences. It contains an introduction of schematic and classic models, exercises, and, also, a CD with recorded examples.

The 7-string guitar language

The method described in the book was idealized according to Rogério Caetano and Marco Pereira’s vision of guitar practices, and was the main theme of the workshop.

The musicians, apart from contemplating the legacy left by the masters who have left their mark on the 7-string guitar history in Brazil, have also presented the way the new generation of musicians honors the masters and have them as artistic references. The appropriation of the historical legacy ends up transforming the language of this instrument, since there is a dialogue between the history and the present.

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