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When building a new instrument, I draw from the studio

and restoration of many rare instruments.

If I can examine the original instrument in detail, perceive the tempo and level of processing,

attention to detail, estimate the use of specific work tools or quality,

the ingredients and finish of the paint and of course the overall impression, I get more than the technical data.

The personality of the author and his current state of mind are revealed to me, it's almost like a personal meeting...



Restoration versus construction of stringed instruments.

The same field and yet such a different approach.

When building a new instrument, we can more or less repeat learned procedures or put our own personality into the instrument.

In the restaurant business, everything is completely unique,

no operation is repeated in the same form

and the restorer, on the other hand, puts his personality behind him, he tries to honor the original design as much as possible. In addition, with severely damaged instruments, questions of ethics versus practicality etc. arise.

The restorer must not only have a large number of types of dyes and varnishes, but also, for example, "an archive of many pieces and types of very worn wood to replace missing parts in instruments that are, for example, 150 years old or more."

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