IT 
EN 
ZH 
who I AM
I was born in Rome on February 2, 1977.
After completing my scientific high school diploma, I studied 3D graphics at the Quasar Institute in Rome, earning Autodesk certifications with teaching qualifications in AutoCAD and 3D Studio Max.
I specialise in 3D modelling, advanced lighting, texturing and technical drawing.
At just 21 years old I joined the Italian National Research Council (CNR), where I carried out my professional activity.
A musician since adolescence, I have played guitar with unwavering dedication. My passion for acoustic guitars led me to visit the Taylor Guitars factory in El Cajon, California — an experience that in 2010 convinced me to pursue lutherie. I spent over a year as an apprentice in the workshop of Master Pier Luigi Panfili, current teacher at the Accademia Romana di Liuteria, during which I built my first two acoustic guitars.
In 2011, driven by my passion for the ukulele, I built my first personal instrument: a Kasha Tenor in Hawaiian koa that I never offered for sale and still keep today as a reminder of where it all began.
From that moment, the ukulele became the centre of my lutherie research. I specialised in building the four traditional models — soprano, concert, tenor and baritone — developing over time a personal X-bracing tenor design that continues to evolve and be refined.
While the ukulele remains my primary vocation, I also build acoustic basses, guitars and experimental prototypes, exploring original construction solutions.
My annual output is deliberately kept small: 4 or 5 instruments, each built with the care and time every project deserves.
The Building Philosophy
"... woodworking is the art and skill of creating objects, works or structures..."
In these lines I will try to express my vision of instrument building — something I believe is essential for fully understanding the value of my instruments.
My approach to the work has remained consistent from the very beginning. Over the years I have simply made more conscious and structured certain processes that were initially largely intuitive.
I have refined a method that has never abandoned its instinctive component, present from the start. I constantly seek the balance between technical rigour and intuition, recognising the irreplaceable value of both.
I build one instrument at a time, giving it my undivided attention as though it were the only one, with the aim of creating an object that authentically represents me at that particular moment in my life.
A dialogue forms between me and the material: through each build I strive to imprint my character into the wood.
Before starting any build, I draw the instrument. Even when it closely resembles the previous one, having updated plans gives me complete control over every stage of the work.
From design to completion, each instrument requires approximately 220 hours of work.
This choice inevitably reflects on my annual output, which stays at around 4 or 5 instruments — a number I consider the right balance between quality and continuity.
I use only the finest quality tonewoods, chosen from a personal stock that allows me to select combinations for each individual project.
Among the most notable: Val di Fiemme red spruce of the highest grade, tropical mahogany, Hawaiian koa, rosewood that is extensively aged, and other exceptional tonewoods.
For finishing I use two techniques:
- French polish (shellac), my absolute favourite for its naturalness, its characteristic scent, its beauty and the extraordinary smoothness it gives to the touch.
- Oil and wax, faster to apply yet capable of bringing out the wood grain in a deeply striking way.
Lutherie — and ukulele building in particular — is my deepest vocation.
It is an endless journey, in which every session at the workbench offers something new to learn and discover.
My aim is for every instrument to carry something of me within it — and to keep doing so long after I am gone.
Diario di costruzione di un ukulele soprano
In 2022, he publishes the "Construction Diary of a Soprano Ukulele," edited by Volonté&co. (Only in Italian).
This manual provides a detailed account of the entirely handmade construction of a soprano ukulele: technical details, hundreds of photographs, and in-depth videos.
"... the goal is to try to imprint one's character on an artifact that will represent us even after our existence..."
The Building Philosophy
"...woodworking is the art and skill of creating objects, works, or structures..."
In this brief description, I will try to express my construction philosophy. I believe it is crucial to fully understand my instruments.
My approach to construction has always remained the same since I started. Over time, I have simply gained a more concrete understanding of some processes that were previously instinctive and partly unconscious.
Throughout the years, I have undoubtedly refined a working method by honing the instinctive part, which has been prominent since the beginning. I continue to strive to find a balance between method and instinct, giving due importance to both components.
I build one instrument at a time, focusing on it as if it were the only one, with the aim of creating an object that represents me in that period of my life. In a way, a relationship is formed between me and the material, to which I, through construction, try to imprint my character.
Every detail of my instruments is defined and crafted by hand. By choice and in coherence with my construction philosophy, I do not use computer numerical control (CNC) technologies.
I love to sketch each instrument before making it. Even if it's very similar to the previous one, I prefer to have templates of the current model to have total control over the construction I am about to undertake.
To create an instrument, including the design, I spend approximately 220 hours of work.
These choices may limit my annual production, which revolves around 4 or 5 instruments.
I exclusively use woods of the highest quality, of which I always maintain a small stock, allowing me to choose pairings on the spot. Just to name a few: the finest red spruce from Val di Fiemme, tropical mahogany, Hawaiian koa, well-seasoned rosewood, and others.
I employ two types of finishing:
- French polishing with shellac: This is my absolute favorite for many reasons. It's natural, highly aromatic, visually appealing, and extremely smooth to the touch.
- Oil with wax: While it's certainly quicker to apply compared to the former, it has excellent visual impact as it brings out the wood's grain optimally.
Crafting instruments, particularly ukuleles, is my profound passion.
It's an extensive journey that will last a lifetime, during which I will have the opportunity to learn something new in every work session.
My aim is to imprint my character on each instrument, representing me even after my existence.
Ukulele Making Academy
UMA LAB - Lutherie School
In September 2022, the UMALAB - Ukulele Making Academy school opens in Rome.
The school is born out of the need to create a cultural gathering point inspired by lutherie, where the ukulele takes center stage.
Diario di Costruzione di un Ukulele Soprano
Diario di costruzione di un ukulele soprano
In 2022, he publishes the "Construction Diary of a Soprano Ukulele," edited by Volonté&co. (Only in Italian).
This manual provides a detailed account of the entirely handmade construction of a soprano ukulele: technical details, hundreds of photographs, and in-depth videos.
"... the goal is to try to imprint one's character on an artifact that will represent us even after our existence..."
