The method

Looking for Stradivari’s secret,
I found mine.

At the end of my training in Cremona, the questions were exceeding the answers.
So I embarked on an anthropological journey into the aspects of lutherie starting from the models of the Amati family, imagining the knowledge, the working conditions and the equipment available to the great masters
and trying to answer the question: “What solution did they adopt, and why?”.
The result is a very personal construction technique, originating from the fundamental work of Simone Sacconi The secrets of Stradivari, from the original hypotheses of Euro Peluzzi and from the work of André Roussel and continues to evolve over time.

From matter to sound.

Sound is moving air; then I take the air and build the instrument around it.
From the outline of the shapes to the final adjustment to the position of the sound post, I follow a logic in which all the elements arise as a consequence of each other, both aesthetically and acoustically.
I draw the shapes taking the beauty of the works of Amati and Guarneri as an ideal reference and reinterpreting it on the workbench, giving it new life every day.

costruzione di un violino
vernice dai toni caldi

I search the laws of harmony to find the proportions of the instrument, I study the thicknesses of the woods around the geometric lines.
Managing the resistance of the materials, each time different, without altering the air mass.
I pattern the ribs around an inner shape.
In accordance with the Cremonese method, I finish the edges and perform the purfling after closing the sound box.
I protect the instrument according to a very classic procedure, also used in ancient times by carpenters and furniture makers.
For the varnish, I choose simple ingredients that I can obtain directly from nature or buy in their raw state.
I avoid manipulated or synthetically reproduced ingredients, and I personally carry out the entire manufacturing process.
My varnish is now made up of very few ingredients, but it took me thirty years to get there.
Besides the shape and the sound of the instruments, also my varnish represents nowadays a signature, more recognizable than a name.

Simple tools, skilled hands, sensitivity, study and intuition form the basis of my method.
The sound I seek originates from them.