A "concert-grade" classical guitar should, in my opinion, offer the necessary power, dynamics, and projection for a modern instrument, but should also have a sound that is harmonically-rich and balanced, as well as capable of extensive artistic expression.
Therefore, my approach has been to base my personal research upon a solid heritage and resolutely innovative construction methods and proceed from that starting point, in order to unite these qualities in an instrument dedicated to a musical expression genuinely free of constraints.
As a child, my biggest dream was to take the stage, guitar in hand, and to perform in the best concert halls around the world. It's indeed this stubborn desire for excellence that led me to study, years later, at the National Conservatory of Music in Paris, under Roland Dyens's tutelage.
I learned there, thanks to this great master and virtuoso, to "model" the sound in the manner of a sculptor as if it was "musical matter," something of which I am now utterly convinced.
I found in my concert guitar of the time some of the characteristics of a "great" concert guitar, which, in my sense, make an instrument to be in tune with "the spirit of our times" : substance, sound dynamics, tone, sustain, balance of registers, depth and definition of different melodic lines, notwithstanding harmonic density.
This is when I started my first guitar construction project, following an out of the blue encounter with a French luthier who proposed to train me in his workshop. I discovered on this occasion that not only I could shape the sound as a performer, but that I was also capable of building an instrument with my own hands to reach a result that I never imagined possible.
At that point in time a long and thrilling personal journey started and I learned through my work how to handle the tools and the art of hand gesture. My regular interactions with this luthier led us to the creation of a guitar model with a one soundhole located on the top side of the guitar. This discovery proved to be a key design milestone for the subsequent evolution of my work.
From then on, our relationship led me to deepen my knowledge of classical guitar lutherie, allowing me to materialize my findings and to drop the elements that didn't meet my acoustical aspirations, or my technical and aesthetic standards.
Then came the inevitable moment of emancipation: I allowed myself to liberate my creativity and to assert my own choices which made me design an instrument with a specific sound signature, as a mark of a style, and a brand name in the making.
Today, I draw my inspiration from my love of Music in general and more specifically of classical guitar, as well as my deep respect and tribute to the great masters who have shaped the history of that instrument.
The beauty and purity of a sound are undeniably subjective elements, yet its richness, density, harmonic and color palette as well as the quality of its balance and projection, are characteristics that are universally identifiable. If we associate power, dynamics, precision, but also control and sustain, and we package all these into an instrument of modern and innovating expression, we get what represents my actual quest, a perfect concert classical guitar...
Classical guitar making has evolved a lot over these last 40 years. Taking into account the astonishing progress in guitar-playing technique is important in order to give birth to an instrument capable of adapting itself perfectly to the player and his sensitivity, without imposing any constraints in the interpretation of the pieces he chooses. The instrument must allow him to express himself fully and to be heard by the audience whatever the configuration of the hall (small or large) and its acoustics. Also, he must be able to deliver a perfect sound texture for studio recording.
Modern guitar-making has seen the emergence of new technologies such as the "double top" (or "sandwiched-top", utilizing composite materials) or "lattice" bracing, which now offer levels of dynamics and power unheard of a few years back. In parallel to this technological evolution, a more traditional yet still interesting approach continually strives to revisit the old tenets of Torres and Hauser, accepting a more intimate and capricious sound identity which makes its use more difficult in large concert halls.
Although I constantly experiment with new materials and techniques, I currently only use wood in the construction of my guitars. I like to think that this noble material has not yet revealed all of its secrets and I prefer its more "organic" sound.
It is thanks to this original conception and a thorough knowledge of the needs of a concert guitarist, that I offer a truly innovating instrument, combining beauty and sound richness to the performance of the best modern guitars. I make no compromises on the musicality, authenticity and loyalty to the traditional guitar sound, whilst providing the sensitivity, depth and ease of use that a performer needs today in order to perform every piece of the repertoire from early music to contemporary works.