Savine essentially works on creating the quartet instruments and regulating their sound at the service of the musician.

Savine essentially gets her inspiration from and refers to the Italian craftsmanship of the XVIIth and XVIIIth centuries, an infallible source of beauty and order for her.  The instruments that were created in this era are late witnesses of Rennaissance knowhow which assimilate the function and the appearance of the instrument.

Depending on the type of sonority required, she chooses a type of wood, and then defines her model in its length, shape and volume.  She analyses the contours of ancient instruments (for example the Leduc G. Guarneri Del Gesu violin, the Viotti d’A. Stradivari violin or the Conte Vitale d’A. Guarneri violin), which she uses for their proportions and then traces her own models using a compass and ruler.  The sketch becomes the mould on which is applied the rib garland.

Savine also analyses the archings of reference instruments.  This is the capital function of the instrument’s mechanics and in the production of sound.  She is particularly meticulous during this part of the instrument’s creation.

Once the instrument is assembled, she varnishes it.  The mixture used is not a mystic elixir but is elaborated with oils and resins that are cooked following a recipe dating back to the XVIth century: a supple paste which allows to move with the vibrations and protect the wood.