I am always in search of new solutions.
As much in method as in acoustic results. I'm not afraid to reinvent myself everyday, and if necessary, I'm always ready to reevaluate my convictions.
My artistic references are born of the Renaissance, and of even earlier periods. I have a great passion for numbers, geometry and mechanics. In my research, I always search for the clearest relationships, as formal as mathematics, with elegant and natural solutions.
In the construction of my contrabasses, contrabassettos and bridges, I use the same geometric rules and relations that were used by Leonardo da Vinci. Not only by him of course, but by other great names of Renaissance and Classical art:
φ, Vesica Piscis, Fibonacci Sequence, √5, Prime Numbers...
...nothing new! The only innovation, if I may say so, is in the way these things are used. Let me explain; every luthier, in the course of his career, discovers or creates methods that are more or less elegant in order to arrive at his forms. Sometimes, although rarely, it is something intuitive. Most of the time it is the result of a long and exhaustive quest. I have developed my own method, a relatively simple but also in-depth "formula", through which I am able to conceive all of my models. With some room for artistry, of course!
In my method, the inherent outline and basically all the key points of the form are, without exception, determined by the "simple" division of the relationships within a single circle. This includes the positioning of the "f-holes" (as well as their dimensions and proportions), the position and width of the bridge and the position of the sound post
The idea to create this method was born while studying the "Vitruvian Man"; at first sight, it is possible to trace many parallels with the principal elements of this celebrated study of the proportions of the human body.