I came in contact with Spiros work after I had already started playing santouri professionally.

I didnt have any problem with the instrument I already had. However I decided to sell it and buy one
of Spiros instruments mainly because of its sound, which matches more the aesthetics and
experience I had as child when I heard the old santouri players on Lesvos, the Island where I grew up.
Although it is not easy to describe a sound, I'd say that what I liked the most was the sweet and less
metalic (or “tinned”) sound it had, as well as the homogeneity of its volyme at all the range of the
instrument. For example in other instruments the sound o the bass notes might be less responsively,
while on the contrary the treble notes might sound extremly high-pitched.
As far as the construction of the instrument which is more than 10 years old,I've never had any kind
of problem while what's impressive is that it stays in tune from the very begining.

Antonis VerverisMusic teacher of secondary education


Κριτικές  - Αντώνης Βερβέρης



Κριτικές - Dr Jon Banks

Hi Spiros,

The santouri has arrived safe and sound and it's lovely. It didn't take too
long to tune up and I had one of my students showing it off at an open day
two days after it arrived. She's obsessed with santouris and is very happy
indeed. I've now got a queue of students wanting to learn to play it.
Thank you so much!
It's much louder and more resonant than the instrument I have already so I
expect I'll be borrowing it for my professional work too.

Thanks again and all best wishes,

Dr. Jon Banks
Senior Lecturer in Music
Anglia Ruskin University
Cambridge UK








Aleksandr Eppler - Cimbalom
BRAVO ! This is a very intelligent, well made site free of any amateurism
associated with folklore instruments.
I will do what I can to spread the word to as many interested parties as possible!
As a professional cimbalom player, I particularly appreciated your (removable!!!)dampers (that work correctly!!!)
With congratulations and kindest regards,

Aleksandr Eppler


Κριτικές - Aleksandr Eppler - Cimbalom



Ο Νίκος Καλαϊντζής (Μπινταγιάλας)  παίζει στο πρίμο σαντούρι  

Nikos Kalaintzis (Bidayalas) is playing the treble santouri ,which I made for Dimitris Kofteros.









Last year at “Rodon” when some notes from “doubou-doubou -za” were heard few paid attention.
Yesterday the mystery was solved .Alex Kapranos was in Exarchia in the workshop of a wellknown
santouri maker to choose the santouri he want to add to his collection of musical instruments.
The santouri was choosen by Yannis Markopoulos,an old friend of his father Aristotles Kapranos ,ex-dean at strsthclide University of Glasgow ,Scotland.Alex, raised in England with Markopoulos, Theodorakis, Hantzidakis and Spanos songs,
which his Father played in the phono,spent quite some time with the composer both at the workshopand at the taverna
in Exarchia where the Kapranos and Markopoulos families enjoyed the Greek ouzo and brought in mind memories from the nights at “Kytaro” and “Lydra”. However Alex left early as the soundcheck for yesterdays concert at “Tera Vibe” couldn 't wait....

12-07-06 "Kathimerini"



Ο Άλεξ Καπράνος και ο Γιάννης Μαρκόπουλος στο εργαστήριό μου.     Alex Kapranos and Yiannis Markopoulos at Spiros Mamais workshop.



In Spiros Face and Talent I see a serious maker a meritorious successor of the good old santouri makers.

Dimitris Kofteros


Ο Νίκος Καλαϊντζής (Μπινταγιάλας) ο Δημήτρης Κοφτερός και το πρίμο σαντούρι.









Nikos Kalaintzis (Bidayalas), Dimitris Kofteros
and the treble santouri.




Κριτικές Ουρανία Λαμπροπούλου – Μουσικός

I met Spiros Mamais as a santouri maker back in 2002 and I have been using his santouris since then. What has led me to choosing this instrument is the distinctness and clarity of its sound, its excellent response, the tuning stability and the perfection of its construction as this is proven through years. As a professional I have used Spiros' instruments in classical   music orchestras, folk music orchestras and rock bands and the advantages of the instruments can be distinguished in all three of them. What is more, the technical support Spiros offers is excellent and the co-operation with him about anything that might emerge is steady. These instruments are trully the best choice both for amateurs and proessionals.

Ourania Labropoulou - Musician







Σπύρος Μαμάης              "Με tar, εκατό" ΜΙΑ ΣΥΝΕΝΤΕΥΞΗ ΜΕ ΤΟΝ ΟΡΓΑΝΟΠΟΙΟ ΣΠΥΡΟ ΜΑΜΑΗ



Κριτικές  - Ορφέας Περίδης

Spiro, well done, congratulations!!!
The santouri is cool.
It is stays in tune and it has a magical sound.

I wish you be in good mood.













Κριτικές - John T. Rousos

(from a conversation on Faceebook)

...Thanks Dimitris.I know Spiros is very good maker. I listened to his santouris at and at his workshop (summer 2009) and I found them very sweet, clear and beautifullthats why I ordered Spiros one, although I have made about 25 santouris myself.

But each instrument has its own characteristic sound timbre.
John T. Roussos

John is a santouri player, maker and teacher in NY USA.












Sam (Sotirios) ChianisIMAG004

Sam (Sotirios) Chianis
Professor of Ethnomusicology,
Emeritus Binghamton University, SUNY









Οhmid Τahmasebpur Ohmid Tahmasebour with the treble santouri especially made for him in 2006.
















 The Santouris of Spiros Mamais



Mickiewicz in Polish (1834) and Kazantzakis in Greek (1946) have written eloquent descriptions of the sound and playing of the santouri/cimbal. While its expressive power is great, rarely has an instrument been pulled in such different directions by its various musical functions. In several musical styles of Eastern Europe the santouri/cimbal is expected to furnish a rhythmic and harmonic accompaniment, while at other times it can carry melody. But all too often the constraints of a particular instrument render it inadequate for either one or both of these functions. The santouris of Spiros Mamais are remarkable in that the entire range responds to all the required musical functions. The notes in all parts of the instrument are in tune and matching in timbre, with very harmonious overtones. The basses are strong and the middle and higher ranges sing out. There are no weak notes and their placement is ideal for playing—neither cramped nor using up unnecessary space. Jewish klezmer cimbal playing requires a bright lyrical tone for sole melodic passages or for interaction with the violin. I have never played an instrument that can fulfill these expectations better than the santouri’s made by Spiros Mamais.



Walter Zev Feldman

Professor of Music

New York University in Abu Dhabi


March 22, 2013


Dr. Walter Zev Feldman in my workshop.




Dr. Walter Zev Feldman playing his new santouri  in my workshop.



In Spiros Face and Talent I see a serious maker a meritorious successor of the good old santouri makers.

Dimitris Kofteros