Other models can be more conventional in appearance and construction, with the Modèle Classique, for example, essentially being a standard fan-braced, flat-top classical guitar.

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.

(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 acoustically in small venues and jam sessions.

Gypsy jazz players usually couple the guitar with light, silver-plated, copper-wound Argentine strings made by Savarez (or copies of these), and heavy plectrums, traditionally of tortoiseshell.

The first Selmers sold in the UK were used in standard dance bands, and were associated with performers such as Len Fillis and Al Bowlly.

One of the largest collections was owned by Louis Gallo (1907-1988), a close friend of Mario Maccaferri, who also possessed blueprints of these guitars and was the consultant for the Ibanez CSL copies.

Before the current rise in interest in Django and his guitars, other European builders produced instruments that emulated the Selmer design with their own variations.

These instruments began to appear in the 1930s with Busato, Di Mauro and—from the 1940s—Jacobacci, Favino, Anasatasio, the Gérôme Brothers, Olivieri, Rossi, Bucolo, Patenotte, Siro Burgassi, and a few others.

These include Marco Roccia, Jerome Duffell, AJL (Ari-Jukka Luomaranta), John Le Voi, David Hodson, Rob Aylward, Chris Eccleshall, and Doug Kyle in the U.K., Michael Dunn, Shelley D. Park and Michael Whitney in Canada, Leo Eimers in the Netherlands, Risto Ivanovski in Macedonia and Rodrigo Shopis in New York City.

Prior to his association with Selmer, Maccaferri had acquired a reputation for building classical guitars with some of the features incorporated into his Selmer design including the cutaway, possibly the D-shaped sound hole, and in some cases, additional bass strings (harp guitars); photographs survive of Maccaferri himself performing on such instruments during the 1920s.

[1] Maccaferri also collaborated with Ibanez guitars in the late 1970s and early 1980s to produce 440 updated versions of his original D-hole design.