From the very beginnings of our workshop, our decision was to produce musical instruments without the use of electric tools, which are now in regular use, not only in factories, but also in many small workshops, such as ours. This way of working – that is, the production of entirely handmade instruments – offers us the greatest satisfaction and genuine contact with the materials we use, but at the same time allows us the highest quality control during the work process itself.
The production of violas and violins in our workshop is five to six instruments per year, which sometimes means a certain waiting period after your order of the instrument.
What determines the quality of the musical instrument
A good instrument is, to a large extent, determined by the correct choice of the relationships between flexibility, weight, thickness, and curves that define the top and the back of the instrument. Adjusting these parameters to the characteristics of the material – the wood, which is at least to a certain degree different for each instrument, is a key knowledge based on an experiential and thus partly intuitive approach that determines the final, consistent result of our work.
Varnish and collor
The final touch on our newly made instruments is oil varnish in the composition, which has been present in the field of string instruments making for several hundred years. With the addition of natural pigments, colored varnish is applied and worked to the final result, which is reflected in the slightly aged look of the instrument, though we do not try to accurately mimic the look of the ancient violins and violas, that we use as a form for our products. The color tone of our instruments has the character of brown red color, on a golden yellow ground, which is achieved mostly by exposure to UV light, both artificial and natural.
Adjustment of the construction to the characteristics of the wood
Our instruments are based on the forms of the violins, made by old italian masters, but they are not a complete copy of these musical instruments. The structural basis of the grat old »cremonese« instruments – the outline of the form, has a great influence on the tone of the violin, so our decision was to use it as a base for our products. The shape and other characteristics of the resonance plates, however, are determined, in particular, in accordance with the properties of the material – the wood used for a given instrument. Subtle deviations from the originals that follow the requirements and properties of wood, result in the instrument with a balanced, harmonic, rich tone and excellent response. They carry the character of the tone, offered by the good instruments of the old italian schools.
It is necessary to realize that the proper set up of the instrument, that is, well made bridge, correctly finished and set sound post, the height of the strings, distance between the bridge and tailpiece and the and correct relation between the bridge and sound post, greatly influence the tone and performance of the instrument. An incorrect set up can, in case of the same, fundamentally good instrument, mean the difference between the sound of an instrument intended for primary use and a musical instrument useful for professional purposes. In the production of new instruments, as well as in the renovation, servicing and restoration of old ones, we pay great attention, time and experience to this aspects of luthier work.
Details and ease of use of the musical instrument
We’re devoting our greatest attention to the details that are important for the comfort and ease of use of the instrument. The neck is shaped in such a way that will allow a firm, unrestrained and at the same time comfortable grip when playing. Fingerboard is slightly concave in the first third of the length (viewed from the nut to the bridge) ensuring the appropriate height of the strings over the entire length of the fingerboard. Projection of the neck, another important factor in the use of the instrument, is optimally set. Equal attention is paid to all the other details, both in the making and in the setting of the instrument.
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