I gathered my experience in repairing and setting musical instruments over several years, working on guitars, electric basses and double basses, which I used to regularly play. I have been fascinated and intrigued by musical instruments and their functioning ever since I can remember.
I started as a self-taught amateur and explored the technical details that would allow me to achieve satisfying results.
I have, of course, made many mistakes, but also learnt a lot. Most importantly, I have learnt the importance of having an overall view of the issues I tried to tackle.
When I started working as a luthier and began repairing instruments, it often happened that by moving a part of an instrument, I improved one aspect, its action for example, to the detriment of other features, such as its sound or its sustain. Over the years, having modified many, often cheap instruments, I began drawing the best out of my experience and understanding the fine balance that is needed in this demanding and exciting craft.
My hobby gradually became a profession that motivates me and gives me satisfaction more and more every day. Now, I am building instruments with much awareness and clearly set goals: to master the construction variables and thus to obtain the desired outcome and true gratification.

My approach to building is extremely simple: I only use quality materials and minimal finishes.
I do not particularly like binding, mother-of-pearl, inlays etc. I love timber and I strongly believe that its grain, its delicate natural texture, its »flaws« and colours are the essence of an instrument’s beauty.
Linen and tung oil, as well as their variants, preserve the wood’s natural look without foregoing the protection they ensure.
My experiments led me to stick to the basics and avoid waste. Thorough research and some extra work have enabled me to build solid body guitars and basses and obtain excellent results by replacing the bodies with hollow-body sound boxes with a back, bent sides and a top. In this way, I can spare considerable amounts of wood and, consequently, to sensibly reduce the weight of guitars and basses.

I have embarked on this adventure out of sheer necessity: I wanted a massive-wood double bass at an affordable price. My teacher, Walter Macovaz, whom I will be forever grateful, has initiated me and generously led me into the art of making string instruments, as well as disclosing some of the secrets of the trade. These small revelations, made of experience and intuition, helped me to fully understand the relations between different types of wood, shapes, sizes, thickness and sound, which is for me the most important result. Despite their beauty, musical instruments are far from items of decoration, but have an important task: making sound. Music Whether we are talking about a guitar, a contrabass or a violoncello, any instrument needs to sound good with rich harmonics, a solid sustain, etc.

Sound is for me the most important element even in the case of solid body electric instruments. As the electronic parts and the hardware also play an important role, I only trust brands that have proven to be reliable and ensure the crucial difference, such as Bartolini, Seymour Duncan, Aguilar, Nordstrand for the pick-ups and the electronic elements, as well as Schaller and Hipshot for the hardware.