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Andrea Tacchi – 1998 Coclea
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Andrea Tacchi – 1994 Coclea
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Andrea Tacchi – 2008
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Andrea Tacchi – Luthier
Andrea Tacchi was born in 1956 and grew up in the magical city of Florence, in a time when there were many artisans’ studios and workshops where you could find countless high-quality artifacts made by good craftsmen. From an early age and with great imagination, Andrea made many items from different materials he would find. In his teens, he made some relatively crude guitars before meeting an Argentinian exile, Ricardo Brané, who had moved to the Chianti region and, after various careers, had started making guitars and lutes himself. After learning a lot from Ricardo Brané, the friendship was interrupted by Brané’s early death at the age of 44.
In the 1980s, Andrea Tacchi met Robert Bouchet and Daniel Friederich and spent a lot of time with them. From these two legendary instrument makers, he learned many practical things: how to build tools and jigs, often referring to a copy of Robert Bouchet’s workshop notes, and inspiration about the spiritual path of instrument making, where physical craft becomes art.
Additional opportunities to meet and learn from other fine guitar makers such as Robert Ruck, Ignacio Fleta, and José Romanillos contributed greatly to Andrea’s understanding of the craft of guitar making.
In the mid-1990s, Andrea Tacchi was moved to produce the first of many replicas of a Robert Bouchet guitar. Similarly, he produced many replicas or “omaggio” of the work of Barcelona masters Enrique Garcia and Francisco Simplicio.
With the help of his imaginative mind and the desire to try out new ideas, Andrea developed two concert guitar models: the Coclea and the Thucea, which he designed himself entirely. The Coclea was born from a very structured and geometric approach to the main components’ shape, dimensions, and weights. The Thucea, with its combination of spruce and cedar in the top, came from observing and admiring the sound characteristics of some guitars, such as the Torres with a three- or four-piece top, and extending this idea to the application of the two different kinds of wood to the front of the guitar. These instruments are quite different from the “Omaggio” models, but they too have strong supporters among many good players and professional performers around the world.