I believe that every historical model has its hidden secrets, which are difficult to unravel without much experience and insight into its specifics. For this reason, I limit my catalogue of instruments to the bare minimum and take care to bring out the best sound and full potential out of each model.

My approach to building early plucked instruments is deeply connected to my experience as a professional lutenist. Years of studying various repertoires on different instruments have given me a clear vision of the ideal sound I aim for, which I strive to bring to life in my instruments. If an instrument deviates even slightly from this ideal, I make subtle adjustments until I am completely satisfied (more on this below). This meticulous process is time-consuming, but the pursuit of the best possible sound quality makes every extra effort worthwhile.

I do not build so-called “student” instruments, as I prefer to work at the highest level of my ability. My entire production consists of professional concert-grade instruments. While the business side of the craft is important for economic viability, my primary focus is on creating uncompromising instruments that fully satisfy both my artistic standards and those of my customers.

As a result of this personal approach, I test each of my instruments for several days to ensure the highest sound quality and excellent playability.

I have traveled to many of Europe’s most important museums to study the original instruments on which my models are based. These historical instruments contain subtle details that provide invaluable insights—details that cannot be fully captured or understood through someone else’s drawings alone. I have always believed that the fundamental nature of these instruments cannot be grasped through a purely modern perspective and methodology. For this reason, I continuously study and research the techniques used by historical craftsmen and how these influenced the essence of the instruments they created.

Having been a customer myself many years ago when I was a lute student at the Conservatory, I know exactly what it feels like to be on the other side. When you commission an instrument, it comes with many expectations and hopes. Both professionals and amateurs alike seek an instrument that will provide a lifetime of musical pleasure and help them express their musicianship at the highest level. Aware of this, I work hard to meet these expectations, tailoring each commission to the client’s needs while staying true to the historical background of the instrument in question.

When first contacted, I guide my clients in selecting the instrument best suited to their needs. A few months before I begin construction, we have a more detailed discussion to finalize the finer details. At this stage, I provide pictures of various suitable woods for the instrument. Whenever possible, I encourage clients to visit my workshop in person for this selection, as I greatly value direct interaction with the future owner of one of my instruments.

Once the materials are chosen and I begin building, I provide frequent updates on the construction process so the client can see how the instrument is taking shape. When the instrument is completed and has passed all sound and playability tests, I keep it in my workshop for a period to ensure stability before it is ready for collection or delivery.

When the instrument is in one piece, before I polish and varnish it, I put the strings on and evaluate the sound it produces. At this stage, and once the strings have settled, I play various styles of music from the instrument's repertoire to evaluate some parameters that I believe are essential for a top professional instrument. Some of these aspects are:

All this happens not only by trusting my ears, but also thanks to technology. Two high-quality Neumann microphones are connected to the computer to analyse these parameters and keep records of them for future reference.

Just as important as the quality of the sound are the physical aspects that ensure the perfect playability of the instrument. The height of the strings (usually measured from the fingerboard to the top of the first and last strings at the 8th fret) has a huge impact on how much effort the player has to make to fret the notes. This is commonly referred to as "string action". If the string action is too high, the instrument will be very uncomfortable to play, if it is too low, buzzes on some or many notes will occur. This balance between the two extremes is one of the most difficult aspects of instrument setup, and requires some trial and error to get it just right. Proper fret gauge selection and the height of the nut are also critical. It has been my experience that trial and error is the only way to achieve these adjustments until you reach perfect playability.

Another aspect that is too often overlooked is the precise and smooth turning of the pegs. This is even more important for professional players who need to be able to tune their instruments quickly and effectively in all kinds of situations. This is another aspect that is of utmost importance to me as a professional. To achieve a smooth turning of the pegs, I subject them to a special treatment to make them more resistant to moisture fluctuations.

I have also developed my own peg-compound formula which is much more efficient than the commercial one usually sold for violin family instruments. This peg compound is supplied with each of my instruments.