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Bass Musician Magazine’s Year of the Luthier – George and Marcel Furlanetto
Interview with Luthiers George and Marcel Furlanetto, F Bass –
F Bass – Past, Present and Future…
KG: George, F Bass has been around for many years. How and when did you get started?
GF: A friend introduced me to guitar when I was 16; that was 1967, right in the middle of guitar-centred, rock music era. I loved it instantly, learning from the instructional Ventures records. Throw into that mix my interest in improving things, and I started tinkering with guitars. I think I have to credit my parents’ inherited genes; my dad was a very good artist and craftsperson, as well as being able to repair almost anything, and my mom had a fabulous, natural singing voice.
In 1969 I started doing guitar repairs in a well-established, local music store. By a stroke of luck (mine), their repairperson had been AWOL for two weeks. In 1976 I opened my own repair business and built my first electric guitar that year. The first electric bass build came in 1978.
George in Gage Park, 1980
KG: Marcel, when did you join your father’s business and what prompted you to do so? What would you say your role is at F Bass right now?
MF: While growing up I was fortunate enough to be surrounded by all facets of music, but it was gear itself that really drew my attention. I was fascinated with the construction of guitars & basses, their history/origin, the tonal variation between wood species, strings, hardware, and many other components. It was actually a little embarrassing how excited I got over wood…there’s a better way to put that…but I haven’t found it yet. At the age of 16 my father guided me through my first proper guitar and bass builds, it was at this point that he allowed me to get my hands dirty with F Basses. I started off on knob duty (yup, those are handmade as well) and graduated to various stages of production before delving into business studies. After snagging a couple of diplomas in Business by 2010, I turned my full attention to F Bass Artist Relations, Customer Support, Marketing, R&D, Sales, etc.
KG: Who are some of the artists you have worked with in the past and how would you they have helped to shape F Bass?
GF: It started out with a few local bassists until a mutual friend in Montreal introduced me to UZEB in 1982. I first built synth loaded guitars for Michel Cusson, the guitarist in the band, then in 1983 I convinced Alain to play a 5-string rather than the 32-fret 4-string he was playing. The relationship blossomed as he and I had similar tastes in bass and tone. He is very analytical in all aspects of his music and instrumentation, so he helped in the development of his signature fretless model as well as his fretted. As a highly respected and visible artist in the bass community, he helped immensely in the sale of basses from that time on.
The other prominent artists at that time were, Marcus Miller, Tom Hamilton of AEROSMTH, Mike Porcaro of TOTO, and Myron Dove of SANTANA
MF: We’ve worked with a handful of artists from local instructors to players touring the globe relentlessly. They’ve all contributed to the F Bass design, influenced sales, and of course shaped the overall feel of the “company”, which feels more like a massive family.
F Bass has been well known in the Jazz world for decades, though we’ve been expanding into so many genres/sub-genres/sub-sub genres with the help of several talented artists joining us in recent years. To name a few: Joe Cleveland (Rita Ora, Nick Jonas), Michael League (Snarky Puppy), Charles Spearin (Broken Social Scene, Do Make Say Think, Feist), and Ryan Stasik (Umphrey’s McGee).
KG: How has the industry changed for Luthiers over the recent years?
GF: The Internet has brought a lot of knowledge of guitar (and bass) construction to the forefront, as well as educating the buying customer, that is resulting in the proliferation of individual bass builders. So competition has stiffened, but the buyer has a wider awareness of the product and what they really want in a bass.
MF: There have always been a slew of badass Luthiers out there and it’s great to see Social Media outlets offering platforms for everyone to share their work. The community seems to be growing faster than ever and it’s fantastic to see so many pockets within our niche market being filled. Everyone is pushing each other slightly outside of their comfort zones and it’s amounting to so many fresh ideas coming to fruition.
KG: How would you guide a first-time buyer in purchasing their first F Bass or handmade bass? What questions should they ask themselves?
GF & MF: To shorten the process and turn it into a more positive one, we suggest speaking to a manufacturer/Luthier about your desired tone. They’ll be able to recommend wood and construction combos and gear you towards suitable models.
Once you’ve got a model/specs in your crosshairs, it’s recommended that you try the instrument out in person, if possible. If the bass sounds great unplugged, then you know you’re off to a great start. Make sure to test through a fairly transparent amp with the EQ set flat. Note: you’d be amazed at how much different strings and a proper set up can tweak your tone!
KG: Can you talk in general terms about the different choices in wood and how they affect tone? For body? Neck? Fingerboard?
MF: All wood used in our instruments is carefully selected and has to meet several criteria (size, weight, density, moisture content, overall quality, and aesthetics) before entering our shop doors. The standard 2pc Northern Ash or Swamp Ash body and 3pc quarter-sawn Maple necks offer the perfect canvas for painting varying tones. Ash lends itself well to a big/tight bottom end with clear high-end presence. Our 3-piece, quarter-sawn Hard Canadian Maple necks and fingerboards bring in rich mids that cut through a mix and offer great stability, top-end clarity, and a snappy attack. Depending on the desired outcome, the tone can then be coloured through varying construction methods and/or by substituting different wood species.
Some examples:
- Alder body or body wings add lows and low mids
– 1 piece body over 2 or 3 pc adds resonance - -Rosewood fingerboard rounds off the highs with an overall darker/warmer tone
- Macassar Ebony fingerboards tighten up the low end and add compression…this paired with its quick attack bodes well for chords and quick runs
- Dense exotic wood top (like Macassar Ebony or Ziricote) adds compression and amounts to a more focused tone
…This list is quite extensive as we offer nearly 20 different species of wood. Contacting us to discuss the tone of your bass is strongly suggested…we’re always here to help.
KG: For those of us who care about aesthetics, what are some of the options we have in making our bass a better representation of who we are as artists and musicians?
MF: Wood combos aren’t only great for attaining a player’s voice, but for aesthetics as well. We have an abundance of neat fingerboard, pickup shell, and top wood options in addition to a library of finishes. The finishes range anywhere from transparent colours with enhanced grain, opaque vintage Fender pastels, both traditional and vertically faded bursts…we’ve even had an Elvis/Madonna/MJ airbrush job come through. Oh, did I mention fingerboard inlays or wooden pickguards? The list goes on and if you haven’t seen it from F Bass, chances are our production team (Chadd, Dan, George, Jon, Paul, Rich, and Sarah) can make it happen.
KG: F Bass has been a long time exhibitor at the annual NAMM (National Association of Music Merchants) show in California. How does it, and other trade shows, help a small bass manufacturing company like F Bass?
GF: NAMM is a very good arena to display our basses to those that have not seen them before, and to show any new developments that we’ve made. It’s also an excellent networking environment for meeting and collaborating with artists, manufacturers, and suppliers of bass components and sharing in the camaraderie of other bass Luthiers.
KG: While you’re based out of Hamilton, Ontario, Canada, I was surprised to see a full page of authorized dealers and retailers on your website. How many countries are you in now?
MF: We’re proud to have over 30 dealers in 17 different countries carrying F Basses. While in depth phone calls and emails are always fun and helpful, there’s nothing like trying the real thing in person.
KG: Tell us about the BASS CAMP you’re running this year.
MF: A little blurb from our website if you will:
We’ve teamed up with our friends at Markbass, LaBella, and Long & McQuade to support the 2nd annual ‘Ultimate Bass Camp’ featuring F Bass artists Alain Caron and Hadrien Feraud.
The week-long camp will be held at the world renowned Orford Arts Centre in Mont Orford, Quebec, Canada, from August 15 to 20, 2016. A few of us from F Bass will also join in to host clinics on live sound & wood/bass construction in addition to the artist clinics.
Between lessons, evening artist performances, and impromptu kickball should the mood strike…bassists will have free rein on our jam room loaded with F Basses, Markbass amps, and oodles of our favourite pedals.
The camp is open to all ages and skill levels, and two groups will be made to ensure everyone takes away as much as possible from the clinics. Details on pricing/registry can be found on our website at www.fbass.com
KG: George, you’re still having fun and playing with your buddies. Tell us a bit about your band and how long you’ve been playing together.
GF: I happened to fall into a band where the two requirements were that you needed to be Italian and have a mortgage; the latter showed stability and longevity. I have been with them for 33 years. We all get along, including the wives. We all have gone on vacation together (eleven of us), which seems logistically impossible. It’s a fun band as we get to play a huge variety of music, from polkas and waltzes, R&B, Latin, Portuguese, Jazz standards, dance, etc. and I get to try/test my basses live. We all have become incredibly good friends
KG: Where would you like to see F Bass in the future?
GF & MF: As an ongoing strong entity in the bass community, where bassists would look to for their ultimate instrument. As a forward-looking company that constantly evolves in small, secure increments with new ideas and materials.
Visit online:
Gear News
New Gear: Esopus Guitars Launches New Acoustic/Electric Bass
Esopus Guitars Launches New Acoustic/Electric Bass…
Esopus Guitars is proud to announce the new “Tailwater” bass guitar, from legendary bass luthier Stuart Spector. This 32” scale bass is handcrafted by Stuart using the only finest woods and components at the Esopus Guitar workshop located near Woodstock NY in the Catskill Mountains.
From its fully carved spruce top (the top is carved on both its exterior and interior surfaces) with a thumb rest that is elegantly carved into the top, to its custom-made Fishman piezo pickup and super hard Carnauba wax finish, every detail of the Tailwater is part of creating the ultimate playing experience.
The Tailwater bass features a fully chambered spruce over alder body (15.5″ lower body bout width, 2.25″ body thickness measuring from the peak of the carved top) that delivers a super comfortable tonal tool for all your low-end needs.
Each Tailwater bass is hand-signed and numbered on the back of the peghead by Stuart Spector. A very limited number of Tailwater basses are handcrafted each year at the Esopus workshop.
“I am proud to present the Tailwater bass, a bass that I have spent the last three years perfecting. The Tailwater is a culmination of all of my 45 years of experience, knowledge, and passion for bass guitar crafting. I am so eager to hear what fellow musicians create with this exciting new instrument.” -Stuart Spector
Direct Pricing : $4995.00 plus options.
For more information about Esopus Guitars and Stuart Spector’s handcrafted instruments, visit www.EsopusGuitars.com.
Bass Videos
Tour Touch Base (Bass) with Ian Allison
Ian Allison Bassist extreme…
Most recently Ian has spent the last seven years touring nationally as part of Eric Hutchinson and The Believers, sharing stages with acts like Kelly Clarkson, Pentatonix, Rachel Platten, Matt Nathanson, Phillip Phillips, and Cory Wong playing venues such as Radio City Music Hall, The Staples Center and The Xcel Center in St. Paul, MN.
I had a chance to meet up with him at the Sellersville Theater in Eastern Pennsylvania to catch up on everything bass. Visit online at ianmartinallison.com/
Latest
This Week’s Top 10 Basses on Instagram
Check out our top 10 favorite basses on Instagram this week…
Click to follow Bass Musician on Instagram @bassmusicianmag
FEATURED @officialspector @bqwbassguitar @brute_bass_guitars @phdbassguitars @ramabass.ok @tribe_guitars @woodguerilla_instruments @mikelullcustomguitars @jcrluthier @elegeecustom
Features
Interview With Audic Empire Bassist James Tobias
Checking in with Bergantino Artist James Tobias
James Tobias, Bassist for psychedelic, Reggae-Rock titans Audic Empire shares his history as a musician and how he came to find Bergantino…
Interview by Holly Bergantino
James Tobias, a multi-talented musician and jack-of-all-trades shares his story of coming up as a musician in Texas, his journey with his band Audic Empire, and his approach to life and music. With a busy tour schedule each year, we were fortunate to catch up with him while he was out and about touring the US.
Where were you born and raised?
I was born in Dallas, Texas and lived in the Dallas area most of my life with the exception of 1 year in Colorado. I moved to the Austin area at age 18.
What makes the bass so special to you particularly, and how did you gravitate to it?
I honestly started playing bass because we needed a bass player and I was the one with access to a bass amp and bass. I played rhythm guitar and sang up until I met Ronnie, who I would later start “Audic Empire” with. He also played rhythm guitar and sang and we didn’t know any bass players, so we had to figure something out. I still write most of my songs on guitar, but I’ve grown to love playing the bass.
How did you learn to play, James?
I took guitar lessons growing up and spent a lot of time just learning tabs or playing by ear and kicked around as a frontman in a handful of bands playing at the local coffee shops or rec centers. Once I transitioned to bass, I really just tried to apply what I knew about guitar and stumbled through it till it sounded right. I’m still learning every time I pick it up, honestly.
You are also a songwriter, recording engineer, and a fantastic singer, did you get formal training for this?
Thank you, that means a lot! I had a couple of voice lessons when I was in my early teens, but didn’t really like the instructor. I did however take a few lessons recently through ACC that I enjoyed and think really helped my technique (Shout out to Adam Roberts!) I was not a naturally gifted singer, which is a nice way of saying I was pretty awful, but I just kept at it.
As far as recording and producing, I just watched a lot of YouTube videos and asked people who know more than me when I had a question. Whenever I feel like I’m not progressing, I just pull up tracks from a couple of years ago, cringe, and feel better about where I’m at but I’ve got a long way to go. Fortunately, we’ve got some amazing producers I can pass everything over to once I get the songs as close to finalized as I can.
Describe your playing style(s), tone, strengths and/or areas that can be improved on the bass.
I honestly don’t know what my style would be considered. We’ve got so many styles that we play and fuse together that I just try to do what works song by song. I don’t have too many tricks in the bag and just keep it simple and focus on what’s going to sound good in the overall mix. I think my strength lies in thinking about the song as a whole and what each instrument is doing, so I can compliment everything else that’s going on. What could be improved is absolutely everything, but that’s the great thing about music (and kind of anything really).
Who were your influencers in terms of other musicians earlier on or now that have made a difference and inspired you?
My dad exposed me to a lot of music early. I was playing a toy guitar while watching a VHS of Stevie Ray Vaughan and Double Trouble live at SXSW on repeat at 4 years old saying I wanted to “do that” when I grew up. I was the only kid in daycare that had his own CDs that weren’t kid’s songs. I was listening to Led Zeppelin, Hendrix, and The Doors when I could barely talk. I would make up songs and sing them into my Panasonic slimline tape recorder and take it to my preschool to show my friends. As I got older went through a bunch of music phases. Metal, grunge, rock, punk, hip hop, reggae, ska, etc. Whatever I heard that I connected to I’d dive in and learn as much as I could about it. I was always in bands and I think I kept picking up different styles along the way and kept combining my different elements and I think that’s evident in Audic’s diverse sound.
Tell me about Audic Empire and your new release Take Over! Can you share some of the highlights you and the band are most proud of?
Takeover was an interesting one. I basically built that song on keyboard and drum loops and wrote and tracked all my vocals in one long session in my bedroom studio kind of in a stream-of-consciousness type of approach. I kind of thought nothing would come of it and I’d toss it out, but we slowly went back and tracked over everything with instruments and made it our own sound. I got it as far as I could with production and handed it off to Chad Wrong to work his magic and really bring it to life. Once I got Snow Owl Media involved and we started brainstorming about a music video, it quickly turned into a considerably larger production than anything we’ve done before and it was such a cool experience. I’m really excited about the final product, especially considering I initially thought it was a throwaway track.
Describe the music style of Audic Empire for us.
It’s all over the place… we advertise it as “blues, rock, reggae.” Blues because of our lead guitarist, Travis Brown’s playing style, rock because I think at the heart we’re a rock band, and reggae because we flavor everything with a little (or a lot) of reggae or ska.
How did you find Bergantino Audio Systems?
Well, my Ampeg SVT7 caught fire at a show… We were playing Stubbs in Austin and everyone kept saying they smelled something burning, and I looked back in time to see my head, perched on top of its 8×10 cab, begin billowing smoke. We had a tour coming up, so I started researching and pricing everything to try and find a new amp. I was also fronting a metal band at the time, and my bass player’s dad was a big-time country bass player and said he had this really high-end bass amp just sitting in a closet he’d sell me. I was apprehensive since I really didn’t know much about it and “just a little 4×10” probably wasn’t going to cut it compared to my previous setup. He said I could come over and give it a test drive, but he said he knew I was going to buy it. He was right. I immediately fell in love. I couldn’t believe the power it put out compared to this heavy head and cumbersome cab I had been breaking my back hauling all over the country and up countless staircases.
Tell us about your experience with the forte D amp and the AE 410 Speaker cabinet.
It’s been a game-changer in every sense. It’s lightweight and compact. Amazing tone. And LOUD. It’s just a fantastic amp. Not to mention the customer service being top-notch! You’ll be hard-pressed to find another product that, if you have an issue, you can get in touch with the owner, himself. How cool is that?
Tell us about some of your favorite basses.
I was always broke and usually working part-time delivering pizzas, so I just played what I could get my hands on. I went through a few pawn shop basses, swapped in new pickups, and fought with the action on them constantly. I played them through an Ampeg be115 combo amp. All the electronics in it had fried at some point, so I gutted it out and turned it into a cab that I powered with a rusted-up little head I bought off someone for a hundred bucks. My gear was often DIY’d and held together by electrical tape and usually had a few coats of spray paint to attempt to hide the wear and tear. I never really fell in love with any piece of gear I had till I had a supporter of our band give me an Ibanez Premium Series SDGR. I absolutely love that bass and still travel with it. I’ve since gotten another Ibanez Premium Series, but went with the 5-string BTB. It’s a fantastic-sounding bass, my only complaint is it’s pretty heavy.
Love your new video Take Over! Let us know what you’re currently working on (studio, tour, side projects, etc.)
Thank you!! We’ve got a LOT of stuff we’re working on right now actually. Having 2 writers in the band means we never have a shortage of material. It’s more about getting everything tracked and ready for release and all that goes into that. We just got through filming videos for 2 new unreleased tracks with Snow Owl Media, who did the videos for both Love Hate and Pain and Takeover. Both of these songs have surprise features which I’m really excited about since these will be the first singles since our last album we have other artists on. We’ve also got a lot of shows coming up and I’ve also just launched my solo project as well. The debut single, “Raisin’ Hell” is available now everywhere. You can go here to find all the links distrokid.com/hyperfollow/jamestobias/raisin-hell
What else do you do besides music?
For work, I own a handyman service here in Austin doing a lot of drywall, painting, etc. I have a lot of hobbies and side hustles as well. I make custom guitar straps and other leather work. I do a lot of artwork and have done most of our merch designs and a lot of our cover art. I’m really into (and borderline obsessed) with health, fitness, and sober living. I have a hard time sitting still, but fortunately, there’s always a lot to do when you’re self-employed and running a band!
Follow James Tobias:
jamestobiasmusic.com
Facebook.com/james.tobias1
Instagram.com/ru4badfish2
TikTok.com/@jamestobiasmusic
audicempire.com
Bass CDs
New Album: Avery Sharpe, I Am My Neighbors Keeper
Avery Sharpe and his Double Quartet to release, I Am My Neighbors Keeper
A new recording will be released on JKNM Records by internationally renowned bassist/composer Avery Sharpe, “I Am My Neighbors Keeper” is scheduled for release in June 2024.
Sharpe has composed a new work that highlights our commitment to one another. Avery initiated the project as a response to the political and racial division that has grown over the past seven years in the country. “The U.S political climate has drastically changed in the past 40-plus years, especially during the last seven of those years. In this age of greed, which Sharpe refers to as “IGM,” I Got Mine, basic human compassion has been eroded. Racial, economic and social strides are being turned back.
“We have food insecurity, the unhoused, pandemics, school shootings, domestic violence, and an opioid problem, just to name some. There is a need to remind people that each of us is here on this planet for a very short period of time. It doesn’t matter if one has a religious approach or a secular approach, it all comes down to concern and compassion for each other. Through these compositions and recordings, Avery’s mission as an artist is to remind us that we all are interconnected and that ‘We Are Our Neighbor’s Keeper.’ When we help to uplift one, we uplift everyone,” Sharpe said.
Each movement in the piece describes the values we should strive for to help one another for this multi-media (video slide show during performance) and multi-discipline performance.
Many of Sharpe’s projects and recordings have been about “standing on the shoulders of ancestors, heroes and sheroes.” Among his recordings and projects, include “Running Man” (celebrating the athlete Jesse Owens), “Ain’t I A Woman” (about Sojourner Truth), and his most recent project “400: An African American Musical Portrait” (marking the 400 years from 1619 to 2019).
Avery Sharpe has recorded and performed with many jazz greats from Dizzy Gillespie to Yusef Lateef. He had an illustrious run of 20 plus years with the legendary Jazz pianist McCoy Tyner, of which he recorded more than 25 records with Mr. Tyner and performed countless worldwide concerts.
Visit online at averysharpe.com/
Tour Touch Base (Bass) with Ian Allison
New Gear: Spector Woodstock Custom Collection Volume II
New Gear: The Dingwall John Taylor Signature Model
Interview With Bassist Edmond Gilmore
Have Fret Sprout? Sharp Fret Management… a How-To Video
This Week’s Top 10 Basses on Instagram
Tour Touch Base (Bass) with Ian Allison
Interview With Audic Empire Bassist James Tobias
New Album: Avery Sharpe, I Am My Neighbors Keeper
