Concert Model HK$19500
Student Model HK$11000
Antique Model HK$10000
Camps Flamenco guitar HK$7000
Spruce& Brazil rosewood HK$95000
Cedar top/spruce top
was born in 1978 in Ciampino, near Rome . Graduated from the Civica Scuola di Liuteria di Milano, learned from the masters Lorenzo Lippi, Titian Rizzi and Aldo lllotta techniques for the construction of plucked musical instruments, and the philological method used in the study and reconstruction of ancient and modern instruments. He specialized in the construction of roman mandolin (by studying the most important authors: DeSantis, and Maldura Embergher) Today he makes classical and acoustic (folk) guitars moreover ‘800 guitars, based on models of the Masters Johann Georg Staufer and Rene Lacote. His guitars are based on a project that, taking inspiration from the great authors of classics Torres, Hauser, Romanillos, developes on a personal line of simplicity and elegance. Philosophy Every instrument of its production is unique, It doesn’t follow a series production. The processing completely handmade of the instrument has the equipment of a few simple electrical machinery. The painting is done with shellac on a pad. The current plan for the classical guitar is aimed at creating an instrument ready, with a high volume and comfortable. Furthermore , great attention is given to a balanced sound on all frequencies, a sound that is “round”, warm and deep, brilliant on high frequencies. Moreover attention is directed to adjust the trim and intonation in processing the string nut and bridge saddle. Provides for compensation for the bridge saddle separately for each string, and compensation for the string nut that makes up the problems that afflict mainly the third string.
In 2002, Dumitriu met a student of Antonio Marin Montero in Sweden named Alejandro van der Horst. Van der Horst explained all of the steps in building a guitar in the Granada style and, as Dumitriu puts it, this was the moment when I was practically born as a guitar maker. After the meeting with van der Horst, he spent the next year studying the principles of the Granada style and then he started building a new concept, which broke away from traditional construction tradition. As Dumitriu explains “...I used only wood, but with the structure of the soundboard modified and much closer to the sound system of the guitar... the basic idea is that the natural structure of the wood (soundboard) has nothing to do with the sound system of the guitar...”