We cherish the traditions of the old Italian masters in creating our instruments.

Naturally, there is a limit to authenticity: we don't attempt to work by candlelight. Certain preparatory stages are carried out using modern power tools. But only certain stages!

For example, jointing (the process of making the edges of the two future halves of the top plate perfectly straight for gluing) is done exclusively with a hand plane.

All carving of the scroll, arching of the plates, bending of the ribs, cutting and fitting of the bass bar and soundpost, cutting of the f-holes—in fact, almost everything from start to finish—is done solely by the master's hands. Even the varnishes are cooked in-house, and pigments are ground by hand using a glass muller.

We use first-class materials sourced from a wide geography. The wood (spruce and maple) is special, acoustic-grade, naturally dried for 15-20 years, and comes from the high-altitude regions of the Carpathians and the Caucasus.

Ebony, rosewood, and other exotic woods for pegs, chinrests, fingerboards, etc., are supplied from India.

Pigments, varnish components, oils, and more (all natural) are purchased from Chile, Mexico, and India. And, of course, from Russian cities: Kaliningrad, St. Petersburg, and Rostov-on-Don.