He was a meticulous and elegant craftsman; the scrolls of his instruments are always deeply carved, and the symmetrically rounded curves of the bouts and flanks provide a distinctive touch.
The only other modern maker in Milan who ever tried his hand at this unusual model was Celeste Farotti, and this only in his antiqued copies, whereas Pedrazzini did so subtly in his straight work.
Pedrazzini’s highly distinctive scrolls – which are extremely symmetrical, very round, large yet delicate and deeply cut – are strongly influenced by those of Giovanni Grancino with perhaps a bit of Amati.
These masterfully carved, heavily chamfered scrolls, as well as the angled position of the precisely cut, lightly fluted f-holes, are the features that most recall their classical Milanese prototypes.
Because Pedrazzini used to be a woodmaker, he was quick to master the art of violin making and was already producing fine works, which were rated highly by musicians and his colleagues, that he opened his own workshop in 1906.
By Bisiach's recommendation, Pedrazzini welcomed Ferdinando Garimerbti, an extreme talent with knife skills, as his apprentice and made instruments together.
Pedrazzini's works were mostly modeled after Stradivari, Amati and Guadagnini, but showed his own personal interpretation with beautiful symmetry and absolute precision.