The spruce and maple used are specially selected and originate from Bosnia and Northern Italy. Although aesthetics influence the selection process, the main criteria are the wood's physical and acoustic properties. It can only be applied after many years of drying in optimal conditions. Maintaining a considerable wood stock enables the instrument maker to always choose the right piece for each particular task.
Historical research combined with detailed chemical analysis provides priceless information about the ingredients and processes with which the great European violin makers worked until about 1750. The varnish and the varnishing methods employed are a reflection of the scientific reconstruction of these traditions. This means that after a while the newly-built instrument takes on a natural and durable patina just like that of the earlier instruments. As is the case for all the classical instruments, an oil-based varnish is used, characterised by its suppleness, transparency, texture, colour and durability. The varnish has an aesthetic function and emphasises the wood's quality and the violin maker's work. It also serves to protect the instrument. Although the varnish is not the great secret behind a good sound, it does have an influence on the resonant qualities.
Depending on the way the varnish is applied, the instruments, when completely finished, may either look like true replicas with a slightly aged look or appear brand new with a completely intact coat of varnish.