Samarra

Besides having a slightly smaller superior bouds, the absence of violin corners allows for the harmonic resolution of the contour; it gives anyway enough contact with the musician’s body, which allow for a stably performance.

This body shape, styled after a classical guitar, or as some would say, a pear – was always very popular in Italy, especially in the XVII and XIX centuries.

This model features a mixed back panel, in maple and mahogany, which has been much inspired by the style of the lutes and the violas da gamba of the renaissance period.

Building it was a very interesting experience, besides having taken a great amount of work to realize. The back is very sonorous, with a generous fundamental frequency; it sounds with great ease, and seems to aid in articulation.

The neck is mahogany, following the imaginary line traced by the central piece on the back panel, and smartly incorporates the same adjustable and detachable system as the Damasco.

Mahogany is a wood that is plenty sonorous, and allows for a very beautiful finishing. The sound is rich with harmonic components, and the resulting timbre is amply complex.