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When building a new instrument, I take an inspiration from the study and restoration of many rare instruments.


If I can examine the original instrument in detail, perceive the pace and level of workmanship, the attention to detail, estimate the use of specific  tools or the quality, ingredients and method of the painting and of course the overall impression, I get more than technical data.


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



Restoration versus construction of string 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 restoration, everything is completely unique, no operation is repeated in the same form, and the restorer, on the contrary, puts his personality behind him and 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 old wood to replace missing parts on instruments that are 150 years old or more.

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