Modern lutherie, especially in classical guitars, has seen the emergence of new technologies such as "double top" (or "sandwich") using composite materials or lattice bracing. These innovations now provide dynamics and power that were inconceivable a few years ago but often come at the expense of significant modifications to the instrument's tone. In parallel with this technological evolution, a more traditional yet still intriguing lutherie continuously revisits the ancient canons of Torres and Hauser, adapting to a more intimate and whimsical sound identity that nonetheless makes its use challenging in large concert halls.
Today, I embark on a third path whose founding principle is to combine natural materials with new construction methods to push the boundaries of the instrument. In addition to embracing its history, the instrument must ensure great homogeneity and consistency in the final result. Thus, while tirelessly experimenting with new techniques, I currently only use natural materials in the construction of my guitars. I like to think that Nature is far from having revealed all its secrets, and I prefer the more "organic" and faithful sonic result that it offers, true to the essence of the instrument.
An original design, profound aesthetic and philosophical choices stemming from the pivotal discoveries I have initiated, and an in-depth understanding of the needs of concert performers from the inside allow me to offer a truly innovative instrument that combines beauty, elegance, and rich sound with the performance of the best modern guitars. With no compromise on musicality, authenticity, and fidelity to the guitar sound, it brings all the sensitivity, depth, and playing comfort that today's performers demand, covering a wide repertoire from early music to the present day.