00:00Unfortunately, in Italy, for me it's a pity.
00:17In Italy there was the culture of sound.
00:21There was the culture of making instruments, but the setup was something, at the end, not
00:29so important.
00:30This is not true.
00:32The sound setup can change completely an instrument.
00:36Not completely, but a lot.
00:41And then you can improve or destroy an instrument's sound.
00:46With your bridge, or a better, worse soundpost, you can destroy completely a sound of an instrument.
00:52Because the difference is to work seriously and so taking care about some incredible small
01:02details that must be created all together.
01:08There are so many details that you repeat a thousand times, and then they have to mix
01:14together, to match together in the right way.
01:17At the end, you say, wow, this is a good bridge, but it happens one time, every two
01:24hundred times, that you say, this is perfect, come on.
01:30So this research is not a mental, auto, self-making idea, it's exactly to repeat and to push ahead
01:45something that can become perfectly beautiful to see, and really, seriously, working well.
01:55Efficient.
01:56Efficient, yes.
01:57And I had a different offer, of course, Milostam and many people, they went to me and they
02:10very kindly were asking me to try their bridges.
02:13I have great respect for their work.
02:17And then I had one chance, of course, to try some Milostam, but now, after, I think that
02:25I made around 1,500 bridges by my own.
02:33And now my brain, my eyes, my knife, everything is on the bridge that you make.
02:43The shape that you give me is that one that matches exactly what I always thought and
02:47then I always do on setting and instruments.
02:52What I found at the beginning of my career was, of course, Uber, but Uber, as the old
03:00Uber, I must say, they gave a different sound from your bridges.
03:07And the different sound is related to the shape and the quality of wood that you have
03:13or the Uber use.
03:15And then you have exactly two kinds of sound, a little bit different.
03:20And then when I have one kind of instrument that needs some brilliant, more silver sound,
03:28more we can say delicate and thinner sound, and then I use the old Uber, 90 years I have
03:34in my store.
03:37Or if I have a Presenda or a stronger, bolder instrument, like Guadagnini, that they are
03:44strong instruments, they need, wow, I need something that pushes.
03:49And then I always use this Pure.
03:51So mainly I use your bridges and in some rare cases I use the old Uber that I bought at
04:00the beginning of 90 years.
04:02Because there's a so thin difference that also really few people can understand.
04:09And really few musicians, they listen immediately, they say, wow, this is sound, this is silver
04:14sound, this is a deeper, amber sound.
04:17Why?
04:18There's a meaning in this.
04:20There's a research.
04:21And when you make a bridge, you must know what you are doing.
04:26Well, I think that you did a great improvement in the past years.
04:34I remember the earliest, this Pure, 90 years, maybe, at the beginning with the laser cut.
04:41I was impressed by the first, the beginning, there was some good ideas.
04:47And then through the time, I think that you reached a very good standard in the shape.
04:53And then you are being able to supply with a shape that you can manage in many ways.
05:03So the base of your work is so important for me, because I have a good standard to begin
05:11my work.
05:12Is that right?
05:13What I am looking for?
05:15And this is why I choose your bridges.
05:17Okay, honestly, I use only the free trees.
05:26I don't, I can say I don't spend my energies in a good bridge.
05:34If I spend two hours to make a bridge, three hours, it depends why I should use a lower
05:40quality wood.
05:42My work is my work, and then I try to keep higher and higher my bridge qualities.
05:51So I am obliged to choose free trees, because I want to have the best.
05:58And also because the bridge inspired is made for a student in a cheap violin, that means
06:05that you have to make a wrong bridge or poor bridge.
06:09And this is the most difficult thing that I found, is to repeat, to reply your qualities
06:18from the cheap violin to a Strad, and then you have always in your mind something that
06:27is pushing you and telling you, do your best, try the next step, find better ways to reach
06:34better shapes, because shape with your qualities bridge means great sound.
06:42And so I always use free trees from you.
06:45And then what I found very interesting, and then I have to thank you, you know that when
06:51we meet, I always say you're the best makers of bridge, because you are being to be very
06:58professional.
06:59When I was writing you or calling you or sending an email, I need urgently a stock
07:05of super quality bridges, you always sent me really fine bridge, I found in the pocket
07:13when it was opening exactly what I was looking for, and say this is professional.
07:18This means that people understand and to share this kind of partnership, it's very important
07:26because when I need the right support, you always give me and then I'm sure then when
07:33I will write you, I will get exactly what I'm looking for.
07:37This is very important.
07:38Quality is absolutely the main step to provide the best service to your client.
07:52What I can say that I really rarely, I found somebody that was teaching me about bridges
07:58that was really seriously, that had a really great knowledge.
08:05And then for example, one of the best master that I ever had was Bachan Nikogosian, a pupil
08:13of Saccone, and it was 83 years old in 1993, I went to the United States and then I was
08:22until his care in this restoration work, and it was absolutely a world of knowledge
08:30that I found in him.
08:33And then he was exactly telling how to cut the bridge and why.
08:38And another big teacher that I had was, of course, one of the best restorers in Italy
08:43that was Igor Moroder, very clear, straight way.
08:47But all this comes from the French school.
08:52All these knowledge is coming from the English and French school mainly, and then American
08:58school.
08:59But the Italian was so poor in set up, in the 1990s when I was searching somebody serious
09:05that was able to give me some great information, to transfer really serious information.
09:14Why do you cut your bridge in this way?
09:17Nobody almost was able to save me because this, they say, oh, because my teacher told
09:24me this.
09:25This is, for me, was crazy.
09:28So this is why I made my own research and through many experiments, I found that I can
09:37now manage.
09:38And so I have somebody that is asking me, please, I need this kind of sound.
09:46I'm learning, still learning, always improving, but now the ideas are pretty, very clear now.
09:53I have to do this.
09:55So not many chances.
09:57You need good food, good shape, and a lot of experience.
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