I do this using a wholly artisanal method, using natural solvents and resins.

Along with many of my colleagues, I have a great deal of curiosity concerning the numerous types of varnishes that may be used and their mysteries. The varnish is without a doubt a component of vital importance, both for aesthetic reasons and because of its effect on the acoustics of the instrument.

There exists a strange competition between alcohol and oil-based varnishes. I like both kinds, but even though oil varnishes are easier to apply, they take longer to dry. I have experimented with various approaches, and continue to research solutions that are both mechanically functional and that result in adequate aesthetics.
I have currently been employing a hybrid system. Recently I came to the conclusion that using two to four coats of oil-based varnish as a base and then applying the remaining coats with an alcohol varnish gives me a better mix of aesthetic and practical results. I was subsequently surprised to discover that some specialists believe that this is the same technique used by the classic Cremonese Maestros.

Until now I have used this technique on five instruments – three of my own and a couple of extensive restaurations, involving the manufacturing of a new top, in one case, and a new back, sides and neck in the other – and have been plenty pleased with the results.