I first developed an interest in violinmaking in 1980, when I was 14 and I applied to Cremona International Violinmaking School “A. Stradivari”. I grew up in a family fond of classical music; my parents used to take me to the theatre and I still remember when I first went to a concert at 7 years old. My father had remarkable manual skills and was really good at making wooden furniture; my mother was a dressmaker not only for need, but also for passion: she drew her own creations by herself and made them with the utmost care for details. They both loved handicrafting and precision. These traits of theirs obvioulsly paid a major role in my education and career. As a matter of fact, after my 8th grade, I had no doubts: I wanted to make stringed instruments. My parents, a bit puzzled by my decision, tried to dissuade me and so I was taken to Francesco Bissolotti's workshop. I was 13 at the time. He was very sincere and ironically decribed all the problems related to a job that had then mainly a “men's” connotation. However, I was so fascinated by his workshop and his instruments that his words convinced me more and more to take up the activity. I still remember his last words : “ See you at school, pig-headed”. In the early 80s the atmosphere at school was very familiar and it was like being in a workshop. During free hours students were allowed to exlpore the laboratories and observe senior students at work. I was lucky enough to get to know several people, who are still part of my professional and private life. I often confronted myself with Renato Scrollavezza, a great master, Primo Pistoni and Pierangelo Balzarini: they helped me at the beginning of my career and I would like to thank all of them for everything they taught me on any occasion: direct comparison is fundamental in this job. My first teacher at school was Giorgio Ce'. In 1212, when the first edition of “Stradivariazioni” took place, flawlessly presented by the historian and violinmaking master Carlo Chiesa, Ce' was invited as guest of honour. On that occasion my instruments were exhibited next to his, which really touched me: it was amazing to notice the evolution of my craftsmanship and to realize his influence on me, thus making me proud. Even if we had not kept in touch after school, it was clear that he had played a big role in my life and his teachings were part of my DNA. Having an idea of how the final product will look like before starting and being fully aware that every single step is the result of the previous one are the main features of his teaching method, together with a free interpretative process, which always starts from an inner mould. I have been making solely new instruments for about thirthy years; my violins, violas and cellos are inspired by the XVII century classical violinmaking tradition, but they are also filtered through my personal experience to suit the needs of contemporary musicians. In the last few months, I have been working with my trainee Sebastiano Ferrari on a project about varnishes financed by the Milan Arts and Crafts Foundation “Cologni”, which offered a scholarship to the student submitting the worthiest project; it was Sebastiano who won. The goal of the project is to show the differences between two classical types of varnish: the classical 1704 alcohol-based one and the other classical oil and amber-based one, both at chemical and at acoustic level. This project is supported by the two Research Laboratories in Cremona Violin Museum : Arvedi Laboratory and Politecnico School of Engineering Laboratory, from Milan University. An essential condition for this interesting analysis derived from the need to make two identical violins. We used the same type of spruce to make the soundboards and the bassbars, the same type of maple to make the backs and the necks, the same type of willow for the beaks; we also carved the same curvings and placed the f-holes in exactly the same position. Thanks to continuous and hard handwork, we managed to get two instruments with the same acoustic response. By means of 3D scanning of the curvings and vibrometric analysis, my achievements were gradually confirmed. A study which was at first merely on varnish types, later developed into a project which completely involved me and exploited my 30 years' experience. It will be possible to hear the violins in the next few months and it will be a real pleasure to experience the several shades of timber, dynamics and power. These days I am also working on the soundboard of one of my violas of 1991. I love my job, it is an essential part of my life... I always feel the need to improve.