I started to get interested professionally for luthierie back in 2004, and after reading a dozen imported books on the subject, I decided to build my own guitar. Surfing the web I found and bought a plan to build a Rickenbacker model. After weeks of researching and asking about the very few forums in Brazil, I was able to find a place in São Paulo where I could find ash, maple, imbuia, and ebony that I would need to build the guitar. The wood was sold on planks, there was no service in the store, and to this day I still do not know how I managed to bring them home in a regular car. With no proper place, machinery, and tools, I began my journey that would not come back and would lead me to meet people from different countries, in search of the dream to build the perfect instrument that spoke to the eyes, hands and ears.

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My first instrument was not a masterpiece, far from it, but it was the first of a series of steps that, step by step, I've been climbing for the last 13 years. After that I set up a Stewart-McDonald's guitar kit that I still have, and that gave me the certainty that if I tried hard I would be able to do something really good. Something that would survive me and would give many joys to whoever owned it. As paradoxical as it may seem at first sight, for me to build an instrument is like to plant a tree.

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I build instruments one at a time, each one with its specific goal of timbre, visual, ergonomics and functionality, according to what was agreed with the client. In everything I do, I try to apply the best materials and methods I have access to, in order to produce instruments that meet the international standard of quality, in every single detail.

My workshop is well equipped with machines, tools and supplies, so I can apply all the knowledge I gained in the training I received in the USA in 2007 when I attended Roberto-Venn School Of Luthiery in Phoenix, AZ, who graduated me Certified Luthier.

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Besides luthier I am also a musician, having started playing guitar at the age of fifteen and played with a lot of people since then. I have no doubt that musical knowledge helps me a lot in the allure for the perfect instrument, because as a musician I also have needs that in many cases are not met by instruments available in the market. Aspects such as playability, ease of maintenance, design and innovation, weight and ergonomics, not to speak of timbre, projection, volume, definition, balance and sound clarity, among many others, are often underestimated by factories, in detriment of other easily recognizable elements, such as finish, style and price. I am not saying here that these are not important aspects either, but rather they are not the only important ones. A perfect instrument should be in every detail. This is how I do my lutherie, and I invite you to join me in a new instrument project.

 

I am at your disposal!

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