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1

IT ALL BEGINS WITH...

I dedicated myself to lute manufacturing from the 2000’s. I was an apprentice of the Master Fabrizio Reginato from Fonte Alto, near Asolo in Treviso. I collaborated with him until his death, inheriting his workshop.
2

TRADE SECRETS

I studied and deepened the knowledge of Ancient and Modern Instruments starting from the study of the Original preserved in museums and vested the “trade secrets”.
3

PASSION

After this stage of apprenticeship, in 2010 I opened my laboratory in Crespano del Grappa, in the province of Treviso: committing myself to always put a tireless passion in my work, I have perfected my constructive method and instruments of the classical quartet (violins, violas, cellos and viola da gamba) with the Cremonese Technique (with closed box).
4

MODELS & MANUFACTURING

I find inspiration in various models: Amati, Stradivari and Montagnana, just to name a few. The processing is entirely by hand, according to the canons of Classical Lutherie, to obtain unique and unrepeatable instruments.
5

QUALITY

I pay special attention to the quality of the materials. Let’s start from woods: for the body I use the now famous Spruce Tree of the Paneveggio forest, in Val di Fiemme, which has optimal lightness, density and speed of transmission of the vibrations of the fibers both longitudinally and transversally. For the bottom and the ribs I prefer the Bosnian Maple that aesthetically and acoustically reflects the tradition, whose I selected in the past years.
6

VARNISHES

Regarding the paints, I select substances that maintain the acoustic qualities of wood and enhance them over time. For the purpose, I refer to traditional recipes contained in ancient recipe books: first I make a preparation to be applied to the raw wood, then I compose a colored paint with resins and natural pigments.
7

RESTORING WORK

In addition to construction, I do restoration activity, collaborating and comparing with other luthiers, in particular with the Master Franco Simeoni and Walter Barbiero. I think, in fact, it is very important to always enrich my cultural and educational heritage, working on ancient instruments, to bring them back to their original splendor.