sound made in Italy
Acoustic Liuteria was born in the late 90s. For some years it worked by exhibiting his guitars in the high-end sectors of specialized musical instrument shops. He immediately focused his interest on the construction of arch top and semiacoustic jazz guitars. For jazz, but not olny. In fact, it diversifies its production by proposing projects of historical guitar models reproductions, acoustic guitars, manouche guitars, high quality solid bodies and providing more “rock oriented” versions of the models in the catalog.
Soon Acoustic Liuteria began to work with artists such as Umberto Fiorentino, Fabio Zeppetella, Bebo Ferra. He participates for some years in the international Acoustic Guitar Meeting in Sarzana and starts commercial relations in Germany and the Netherlands. In 2009 he opened the new laboratory in via Porta all’Arco, in Volterra where it still works today.
The company’s philosophy is clearly manifested by observing any of the models in the catalog. The design is traditional and classic, as also suggested by the types of finishing available and by the absence, in general, of tech materials such as plastic. The look is sober, dry, essential. Considering the musical instrument as a functional object, directs the research towards a precise direction; the end user is the real designer, who, – according to his or her own needs as a musician – traces the outline of the project. Our task, given these parameters, is easy: it is a question of translating this planning into a construction project.
Master Luthier of Acoustic Liuteria
«I was born and raised in Volterra, among craftsmen of all ages, who earned a living by carving alabaster, in hundreds of small workshops covered in dust and history.
Here, building objects with your own hands becomes natural, almost a destiny. Equally precocious was for me the magnetic and irresistible attraction for music, musical instrument, wood.
In an age without internet, the curiosities for the secrets of the construction of guitars passed through paper material, long awaited because it came from other countries, laboriously translated, intensely investigated.
My training was not academic, as a concept officially transmitted in the school sites used for this. Far from it. I soon realized that the transformation of wood into a functional object can neither be learned in a handbook, nor transmitted verbally: it is necessary to breathe dust, steal other people’s trades with your own eyes, listen to the noise of machinery, test the weight of the planks.
And so I went to be a carpenter, as a wage worker, for almost ten years; so, when I drew the first guitar that I would build, I knew very well which wood to use, how to cut it, on which side to plan it, in what sense to sand it, how to paint it; so I could focus exclusively on how to make it play.»