When have you played an instrument that exceeded your expectations? The F bass design evolved during twenty-two years of repairing and observing other instruments, and it has been my desire to learn from and improve upon those designs.

This process has led to a terrific combination: fat, natural sound, superb feel, exciting new look, and, because I play them too, comfortable balance and light weight. I hope refinements such as these create a niche away from instruments that sound and feel "high-tech". At F bass, quality and craftsmanship are the standards by which we live. Even though we build for today's player, I want our instruments to play and feel like great vintage basses.

I am extremely proud of F basses, as are the musicians who play them.

Having been spurred on by a friend's introduction to guitar playing at the age of 16, coupled with the probable inheritance of my father's craftsmanship and my mother's musical talent, directed my "life path" towards musical construction.

I gained a lot of knowledge of construction and deficiencies in guitar design by doing repairs from 1969 to 1976. During this time, a pivotal encounter with Froc Filipetti led me to building guitars, which began in 1978 to the present. Our goal was to make something unique with a different look and the best possible sounds.

I began to develop basses in 1978 basing the design on classic basses, but changing the lines visually to obtain more access to the higher frets, but retaining the playability and perfecting the balance.

Another key association began in 1983 with renowned bass player Alain Caron. I was deeply impressed with his playing technique and technical knowledge. He is one of the most active promoters of F-Bass and has become an invaluable asset in the development of F-Basses.

When I design an instrument, I take into account all the facets that play a large part in the completed design. The look, feel and sound are all given great and detailed attention. One aspect cannot suffer at the expense of another. I have achieved a look that is totally new and individual, but still retain the classic lines. The sound is continually affected by the design, changes in the construction or by the choice of woods used. The artistry comes in the assembly of these various components, in balance, to achieve the ultimate instrument.

My continuing functions are to build prototypes, instrument improvement through research and development, speak with players, and to contact dealers to expand sales internationally.

I occasionally play with a local band with which I have been a member for the past 18 years.

I will probably have a chisel in my hands until I can no longer hold one.

Versatile, great for slap or finger-style with a solid low B. Defeatable three-band (boost only) EQ. Three-piece maple neck, 22-fret maple fingerboard and swamp ash body. Two hum-cancelling pickups.

Same features as BN5 but 24 frets. One of the easiest six string basses to play, no tendinitis, and, at only 9 pounds, no physio.

Plenty of growl and easy access all the way up to the 28th fret position. Ebony fingerboard and bridge.

This is the King of fretless basses. Acoustic chambers in the body give a huge sound with plenty of attack.

This is the new look for these basses. Violin amber satin finish with black-white-black purfling inlayed around top. Alain says, "this look is more me than the sunburst finish!"