Hello Mauro!
Could you briefly tell us, and your "hobby"?
Before starting, let me thank you for what you do, with your virtual space and specifically to give me the opportunity to talk about what is my biggest passion ... because this is a simple passion.
Not a job, I play what I want when I want, without the obligation to be liked or to respect a possible contract in terms record, and endorsement. being conscious to be one of the many guitarist, it has never precluded the desire to do what I do without overdoin’. The result is an absolute serenity in the approach to my passion, where my idea is not to imitate, but to propose what I am.
It was just that kind of "freedom" in the approach hat has allowed me to enter in the Manne world as testimonial. I choose freely those guitars, among the thousands on the market and I prefer them because they are the best, from my point of view, to marry my personal philosophy of music. Like with a woman, also with my guitar I have developed a knowledge of each smaller feature and secret ... Mr Manne has noticed my love for his guitars and I was chosen as testimonial. Of course, I’m not famous, I’m not a professional, but I "breath" Manne and this counts when we propose, explain, demonstrate. How do I show a product if I do not believe ... how do I play in public if the music does not come from inside ... this is my philosophy ... if I am in emotion I may let people be emotioned.

We often speak of Gibson, Fender, Ibanez, but very little of guitars makers such as Manne who are truly at the service of both musicians but also their day to day clients, meaning that the product is really what you see and buy unlike famed brands where there a real discrepancy between the product dedicated to the artist and that for retail.
What do you think about?
The difference is this. Manne is a project, an idea that is based on passion then became a profession. Affirming the concept in contrast, a profession with the characteristics of those who act with passion. It 'obvious that certain rules and I refer to the "commercial" must necessarily be followed, but when you enter the world of Manne, is precisely direct contact with those who put in place their dreams ... all owners of a Manne guitar, have the best of production, because the quality is the same for all the products ... unique and hand-made ... you think that for those who truly love, thay may talk daily with Mr. Manne for the construction of their instrument, according to their wish, is something special ... the choice of wood ... ... ... all the color is changed from its concept of instrument and developed under their eyes ...
Yes, certainly there is no difference between theSoulmover Manne used by Glenn Hughes, for example, and the one any potential client who buy it.
Speaking of materials, time ago "our common  friend" Gene Simmons said that any instrument is good enough to play R&R if you “feel” that instrument.
Do you agree?
I think Gene is right, everyone is sovereign in its approach to music ... what is good to us, may not be equally valid for other ...
The problems come when you are convinced you have the better, without knowing what is actually better for you ... I think there is no difference. I refer of course to not only marks ... but simply to variable materials and guitars makers, not only as fashion. Manne I use with Reason To Kiss are made specifically for that type of sound I wanted ... so I think that awareness in this regard makes me free to actually say that my instrument is what I wanted ... regardless of taste of the other ...
 And especially ... what materials you choose for your guitar?

I have six Manne, all different, three electric, a double neck, two semiacustic, one with nylon strings. Based on the assumption that with Reason To Kiss, I play acoustic, but with a rock feel, I wanted guitars that gave me that same  feelings. So neck and keyboards are the same of my electric guitars. The neck is a maple laminate, an asymmetrical section. The plate adds a lot of resistance to the neck and the possibility to regulate more precisely the desired action. Stability is increased by keyboard made by phenolic resin, tough and above all sustainable. Before I used ebony but since I use the Manne fret, a new world was discovered. For semiacustic ones  I adopted a lightweight poplar body dug in inside with spruce top. Piezo bridge and magnet in the neck, which can use either individually or mixed. All this allows me to use my semiacustics depending on my needs, live with a piezo acoustic , or inside a fabulous'65 Fender Twin Reverb, to sound more Jazzy. I put this constructive concept  in the half of the double neck, one to 12 strings, while Section 6 electric cord is full and has three miniHB, split with fixed bridge or Gotoh  matic tune of. The semiacustic with nylon strings is different from the others simply because of the absence of magnetic pick up and the presence of an equalizer with three potentiometers and his neck is very narrow, thin, coming for the previous talk about my non-classical approach to the instrument. For the electrics things are a slightly different. I have two Taos and Ventura. Guitars completely different. The Taos is in mahogany with maple top and shiny paint, has a miniHB to handle splittable, a single coil and a HB on deck, the latter with piezo. Guitar designed with two exits and used mainly in musicals, where with just a click away, can switch from a sound audible to a heavy metal, depending on stage. And 'most versatile guitar that I have, my first Manne, a jewel. The Taos 2001, is equipped with a mask and three miniHB, satin with mahogany body and top mastergrade in poplar figuratively, bridge mobile AlecB. Both Taos have the handle screw. The Ventura instead was the gift that I did for my 40th birthday and I use for my most hard raids. Handle pasted, two HB splittabili, Korina body with tonal Cameras a circular cross section and top in poplar absolutely mastergrade figuratively, tune o matic bridge of Gotoh. All my six Manne are equipped with mechanical self-Gotoh, who sincerely love for their absolute precision and practicality. I do not have a preference for either, because none of the duplicates. Using what I need for the specific need, without regret what remains in the pits, as all with high quality.

You mentioned Reason to KISS.
I find that your rearrangements are precisely next to the "message" of the original but the misc is transposed on a different planet and creating a true and new pieces.
How usually do you act to get the finished product?
You get the perfect description rearrange the songs .... Re accurate ... because Susy is an essential part of the project RTK ...
We work by feelings in the sense that everything that our musical experience in musicals, the planet where versatility is essential, is put into practice ...
To the question of "how could play" that piece in a new look, follows the immediate implementation ... because the question presupposes already in our head, the idea of what will be ... Sometimes the result convinces us , it requires minimal adjustments in some cases ... we rejcte in other swhen we do not like what we get.
You rearranged both Gene and Paul songs, what differences, if any, have you found in them way to write music?
Paul is simpler and more RTK, because his melodies are obviously a multitude of versions and genres ... Gene melodic is less immediate I have some things in the drawer but hardly will be played by us as a duo in front of an audience with an  hard rock  target ... but I think would be perfect to work it out in the studio, or with a complete band...
 Coming back to earth what kind of guitar and recommendation for a boy who wants to learn to play having in mind the myth of the Guitar heroes?
Any guitar is fine initially because who’s around from family to master, which should give him the nourishment to get him into music, the instrument comes after the passion ... music as culture and not as a disposable business. Music daily breath and not as emulation of artists those are unique and unrepeatable .... . That passion that makes us not living without music and the need to speak through it. The course is what everyone feels to do or that it can do. I know children forced to learn an instrument because parents want it. I know others who have talent but little teaching approach ... I know teachers who have made the students hating music... The right recipe is in my opinion ... passion-talent-studio ... in massive doses. As for the tool ... Returning to the first question... everyone has to find it ... the important thing is to know what you want... this and quality. After years I finally chose my  ... and I never stop divulge the quality and the beautiful feelings that they give me. Initially it is better to seek guidance from teachers ... then over the years, awareness of what you want should prevail, even if you do not ever stop to hear questions like: "it is more good a Gibson or a Fender "...? Rather than: "I need or I like the sound of a Gibson or a Fender ...? "There is a difference ...
 Mauro, thanks for that chat and please let us see Susy and you around more often!
We are always hungry for good music as you do!!
Thank you for the opportunity you give us passionate musicians ... well Reason To Kiss is us a somewhat 'niche project... difficult to be always visible .. but when we were given the opportunity we have responded promptly with the same passion. I take this opportunity also to thank all who have supported us from the beginning, gratified ... and for their constructive criticism to make us improve.