Inspiration – Model design

Inspiration – Model design

Each instrument that I build is a particular project, guided by the desires of a musician or responding to a personal research.

I base my work essentially on the exemplary instruments of the Italian masters of the 17th and 18th centuries. I study their manufacturing processes, their aesthetic vision, the tools and materials available at the time, in order to restore the essence of their art while deploying my own style.


Wood selection

Of all the criteria that the violin maker considers in order to shape the sound identity of his instruments, the choice of wood is one of the most decisive.

Spruce and maple, precious species, are very carefully selected. The spruce tops come from the Dolomites, while the Balkans and Slovenia offer me the best maple for the backs, sides and heads.

In these regions, the temperature variations between winter and summer are low, generating a wood that is light and reactive to vibration.

Growth, density, nervousness, cut: each parameter will indeed be decisive in magnifying the final result, whether in terms of colour or sound emission.


I carry out all the stages of making up to the oil varnishes, elaborated according to old recipes reinterpreted to the need of my creations.

The mastery of all these steps allows me to control and ensure a homogeneous quality on my instruments.

Concerned with creating instruments that improve over time and in the hands of the musician, I pay particular attention to maintaining a constant quality of the highest level by using only the best materials. 


Varnishing instruments is one of the things I find most admirable and exciting about the finishing process.

By combining historical research on the processes and varnishes used by the great masters, in-depth study of the chemistry of varnishes, and testing new recipes, I have been able to learn and gain a great deal of knowledge about these finishing processes.

My approach is therefore naturally based on the reconstruction of ancient processes in relation to the context and aesthetics of the time, and I use, as in the past, oil varnishes that I elaborate by emphasizing their suppleness, their transparency, their colour and their durability.

While applying this knowledge to my own instruments, I now pass it on to professional and amateur violin makers during specific training courses.

Setup and adjustments

The set-up and adjustment of an instrument has a tremendous effect on the ease of playing and allows the musician to get the most out of the instrument in his or her own way. Many subtle changes can be influenced by very slight modifications in the cut, placement and materials of the setup.

Follow-up of the instruments:

I remain attentive to the life of my produced instruments throughout their evolution, and I encourage musicians to extend cooperation to ensure that their instrument is in optimal condition to meet their requirements.

In order to ensure that my instruments are working at their best, I make adjustments at no charge for two years, followed by long-term maintenance at a reduced price.



+33 6 89 35 36 69



77 allée des Pins, Saint-Augustin, 33000 Bordeaux


Photo Credits : Thomas Gourmelon / Barbara Luzynska

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