going around with only some little
modification to the gain stage or the
tone filter. We have a totally different
approach. I’m a musician, so I go around
the world, I talk with guys, with
salesmen, with stores—I’m in forums
and all the guys can find me at any time.
These are all things that would be
impossible for an engineer like
Guglielmo—he doesn’t have time—
and often the geniuses never get out
from their laboratories, so they don’t
know what’s in the market or what
buyers want.
TRW: What’s the creative dynamic like
around the shop?
CB: We have the pleasure of working
with lots of young and talented guys on
our team, but the creative dynamic
starts with an idea that comes out of a
specific request or from a challenge.
Take the history behind our Echosex.
There is a famous songwriter here in
Italy named Tullio Ferro, who is a Binson
addict and collector. We had restored
many of his units and one day he said,
‘Why don’t you create something with
this voice, this magic—but easier to use,
portable and that doesn’t need so much
care and maintenance?”
A year later, the Echosex was born.
But everything starts with a
brainstorming by Guglielmo and me. We
usually do this kind of stuff every month
or so and then by discussing—and
fighting—we usually find the best idea
for a new product. Then we inform our
team, illustrating the idea of the
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