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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:
Spector, a leading authority in bass guitar design, unveils new additions to its product line: Euro CST, Euro LX and Euro LX Bolt On basses.
Euro CST:
The Euro CST introduces all-new tonewoods, electronics, and finish combinations never seen in the Euro Series, drawing inspiration from Spector’s Woodstock, NY-based Custom Shop. Each Euro CST instrument is meticulously crafted using premium materials, featuring a striking, highly figured Poplar Burl top, a resonant European Ash body, and a 3-piece North American Maple neck paired with an Ebony fingerboard adorned with laminated Abalone Crown inlays.
Euro CST basses are equipped with a lightweight aluminum bridge for precise and reliable intonation. Premium active EMG X Series pickups deliver the exceptional clarity, attack, and silent operation that defines the Spector sound. These basses also feature the all-new Spector Legacy preamp. Developed in collaboration with Darkglass Electronics, this preamp captures the classic “Spector growl,” heard on countless iconic recordings, with added versatility.
Euro CST basses are available in 4- and 5-string models in four distinct high gloss finishes: Natural, Natural Black Burst, Natural Red Burst, and Natural Violet Burst.
Euro LX and Euro LX Bolt-On:
The Euro LX offers all the features that have made the Spector name famous around the globe. Inspired by the iconic NS-2, Euro LX basses feature a fully carved and contoured body, high-grade tonewoods, and professional-grade electronics and hardware. For the first time ever, players can now choose between neck-thru and bolt-on construction in the Euro LX range.
Each Euro LX bass, regardless of construction, is crafted using premium materials, including a European Alder body, figured European Maple top, and a 3-piece North American Maple neck combined with a Rosewood fingerboard for strength, stability, and sustain. Euro LX basses are then outfitted with a lightweight, aluminum bridge for spot-on, reliable intonation. Premium active pickups from EMG provide the exceptional clarity, attack, and silent operation that Spector is known for. Like the Euro CST basses, these instruments also feature the all-new Spector Legacy preamp.
The newly revised Euro LX range is available in four distinct, hand-rubbed stains, including Transparent Black, Natural Sunburst, Haunted Moss, and Nightshade. Each of these colors features a durable and comfortable matte finish.
John Stippell, Director, Korg Bass Division, remarks, “I’m thrilled to announce the latest additions to the renowned Euro Range. The CST Series, our new premium offering, features new and unique wood combinations and unprecedented features. The beloved LX Series is now better than ever with the introduction of Bolt-On models, vibrant new color options, and the all-new Spector Legacy Preamp, delivering the classic Spector tone with unmatched precision.”
For more information, visit spectorbass.com.
Meet Garry Beers, Luthier and owner of GGB Basses…
Bass Musician Magazine: How did you get your start in music?
Garry Beers: I played acoustic guitar as a kid with my mates at school. We decided that one of us should play bass, so we had a contest where the one who knew the least guitar chords would buy a bass – so I lost the contest, bought my first bass, and became the only bass player in the neighborhood. Soon after, I met Andrew Farriss, who had heard that I had a bass, and a few days later, I was jamming with Andrew and Jon Farriss.
Are you still an active player?
Yes, I am still actively writing music and playing bass sessions. I also have an LA-based original band called Ashenmoon.
How did you get started as a Luthier? When did you build your first bass?
I did woodwork in High School and always enjoyed making all sorts of things out of wood.
After finishing high school, I took a course in electronics for a year or so and learned enough to understand basic circuits in guitars, amplifiers, and effects. The best way to learn is to deconstruct and study, so my dad’s garage was littered with old junked radios and any instrument parts I could find.
My first guitars were more like Frankenstein-type creations made out of parts I found here and there. I didn’t really try to build a bass from scratch until I perfected my Quad pickup design and got my patent.
How do you select the woods you choose to build with?
I only use woods that were used at Fender in the 50s, which are my favorite basses and guitars of all time. All my GGB basses are modeled in some way from my INXS bass- a 1958 Fender Precision bass I bought in 1985 in Chicago. I call her “Old Faithful,” and she has an Alder wood body with a maple neck. All of my GGB basses are select Alder wood bodies that I have had extra dried, so they match the resonance of “Old Faithful,” as she has had 66 years to lose all her moisture and become more resonant and alive-sounding. I use plain old Maple necks that I carefully select, and again, I dry the necks to make them sing a little more.
Tell us about your pickups.
I started working on my Quad coil design back in Australia in the ‘90s and then put it to bed, so to speak, until I found an old pickup winding machine at a swap meet here in LA. I taught myself enough about pickup winding to build my first prototype design and worked towards my patented Quad coil design by trial and error. Nordstrand Audio builds the pickups for me here in SOCAL.
What is the reaction of players who pick up your basses?
I build the basses to feel like an old friend. They look and feel vintage, and when you plug them in, you discover the array of vintage sounds available to you from just one pickup. Most of the players I have contact with are established professional players, and they all love the basses. Freddie Washington and Nick Seymour from Crowded House are a couple of players with GGB Basses in their hands.
What are a few things that you are proud of in your instruments and would consider unique?
I would say I am most proud of the patented Quad pickup design. I own the patent from 4 through to 10-string. So far, I have only built 4 and 5-string pickups, but the design is a winner. Split Humbucker / Reverse Split Humbucker / Full Humbucker / Single coil Neck / Single coil bridge. All these sounds come from one passive pickup. I am very proud that my perseverance and desire to have this pickup have made it a reality. Being able to have these sounds in one bass enables the player to have one bass in the studio and on the stage. The only place you can have the GGB Quad pickup is in one of my GGB Basses.
Which one of the basses that you build is your favorite one?
I offer three body shapes and about ten different color options – all based on the ‘50s and early ‘60s custom guitar and car paint styles. I have always been a lover of P basses, but my favorite bass I build is now my XS-1 model- which is a custom Jazz bass body style. It is pretty sexy and is a light, well-balanced, and great-feeling body shape. The other body styles are the XS-2, which is a custom Jazzmaster body and has been the most popular so far- and the XS-3, which is the standard P bass body style. I also offer an XS-58, which is a replica of my “Old Faithful” ‘58 P bass. They are currently available to order now and should be available soon.
Can you give us a word of advice to young Luthiers who are just starting out?
I don’t really consider myself a Luthier in the traditional sense. I just love to build things and tinker. I was always looking to improve things, whether it was a guitar, an amp, a pedal board, or a car. So my advice is to always be curious and learn the basics of what you want to build, and the rest should follow once you decide what you want to say as a designer/builder. People are lucky these days that you can learn pretty much anything from talented people on the internet, but nothing replaces working with and learning from real people in real situations. Seek out like-minded builders and start a discussion.
What advice would you give a young musician trying to find his perfect bass?
Have a good hard think about what you want to say as a player. What is your style, both musically and as a player? There are so many instruments available. Do the research, play the instruments that fit your criteria, and make a decision. But make sure you try a GGB Bass! With all the sound choices my basses offer, with a simple turn of a knob, you may find it easier to find “your” sound.
What is the biggest success for you and for your company?
Well, the company is brand new, and at this point, it is just me, so getting this far in the manufacturing process and now having these amazing basses in my hands is a great achievement, but now comes all the business stuff!!
What are your future plans?
It’s a work in progress. Right now, it’s all about getting the word out and getting the basses into the hands of interested players. I believe in the basses – and the Quad pickup, so hopefully, GGB Basses can become a go-to bass for demanding studio and live players who want sound choices in a gorgeous vintage-style instrument.
Visit online at www.ggbbasses.com
Disclaimer: This pedal was kindly provided by Joyo for the purpose of this review. However, this does not influence our opinions or the content of our reviews. We strive to provide honest, unbiased, and accurate assessments to ensure that our readers receive truthful and helpful information.
Introduction:
The Joyo Monomyth bass preamp pedal is designed to offer bassists a comprehensive range of tonal options, combining modern features with practical functionality. With independent channels for EQ and overdrive, as well as useful additions like a cab sim and DI output, the Monomyth aims to be a versatile tool for both live performances and studio sessions. This review will delve into the pedal’s specifications, controls, and overall performance to determine if it lives up to its promise of delivering quality and flexibility at an affordable price.
Specifications:
– Dimensions: 130 * 110 * 50 mm
– Weight: 442g
– Working Voltage: DC 9V
Controls:
The Joyo Monomyth is equipped with a comprehensive set of controls designed to provide maximum tonal flexibility:
– Voice: Adjusts the character of the overdrive, from distortion to fuzz.
– Blend: Balances the dry and effected signals, crucial for maintaining low-end presence.
– Level: Sets the overall output volume.
– Drive: Controls the amount of gain in the overdrive channel.
– Treble Boost: Enhances high and mid frequencies for clarity in complex passages.
– Gain Boost: Adds extra gain, particularly effective at low gain settings to enhance the low e.
– EQ Function Controls: Features a 6-band graphic EQ plus a master control for precise nal shaping.
– Ground Lift Switch: Helps eliminate ground loop noise.
– Cab Sim Switch: Activates a simulated 8×10″ cab sound.
– LED Light Control: Customizes the pedal’s ambient lighting.
Performance:
The Joyo Monomyth shines in its dual-channel design, offering both a transparent EQ channel and a versatile overdrive channel. The 6-band EQ allows for detailed tonal adjustments, preserving the natural character of your bass while providing ample flexibility. The voice control mimics the functionality of the Darkglass Alpha Omega, shifting from distortion to fuzz, with a sweet spot around the middle for balanced tones.
The blend control is essential for retaining the low end when using distortion, ensuring your bass remains powerful and clear. The treble and gain boosts, available on the overdrive channel, further enhance the pedal’s versatility, making it suitable for everything from subtle drive to full-blown fuzz.
Outputs are plentiful, with a DI and XLR out for direct recording or ampless setups, and a headphone out for convenient practice sessions. The cab sim switch adds a realistic 8×10″ cab sound, enhancing the Monomyth’s utility in live and studio environments.
Pros:
– Versatile Control Set: Offers a wide range of tones, from clean to fuzz.
– Blend Control: Maintains low-end presence.
– Robust Outputs: DI, XLR, and headphone outs make it adaptable for various setups.
– Affordable: Provides high-end functionality at a budget-friendly price.
– Sturdy Construction: Durable build quality ensures reliability.
Cons:
– Plastic Knobs: May feel less premium compared to metal controls.
– Boosts Limited to Overdrive Channel: Treble and gain boosts do not affect the EQ channel.
– Cab Sim only on the XLR out: how cool would it be to also have it on the headphone out?
Conclusion:
In conclusion, the Joyo Monomyth stands out as a versatile and powerful bass preamp pedal, offering a range of features that cater to both traditional and modern bassists. Its dual-channel design, comprehensive control set, and robust output options make it a valuable tool for achieving a wide spectrum of tones, from clean and warm to heavily distorted. For bassists seeking flexibility, reliability, and excellent value, the Joyo Monomyth is a top contender.
For more information, visit online at joyoaudio.com/product/267.html
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Future Impact V4 Guitar & Bass Synth Now Available in the U.S….
The Future Impact V4 is an incredibly versatile pedal with an exceptionally wide range of sounds. In addition to producing synthesizer sounds such as basses, leads and pads, it can function as an octaver, chorus, flanger, phaser, distortion, envelope filter, traditional wah-wah, tremolo, reverb, etc., and even has a built-in tuner. It can also drive external synthesizer gear via the optional CV/Gate. As such, it can potentially replace an entire pedalboard of dedicated single-effect pedals.
The very powerful signal processor of the Future Impact V4 is able to replicate the various oscillator, filter, amplifier and envelope generator blocks found in classic synthesizers. In addition, it contains signal processing blocks more traditionally used for processing the sound of an instrument such as a harmonizer block and audio effects such as chorus, distortion and EQ. These architectures complement each other in a very flexible way.
Check out this short video with new sounds:
The Future Impact V4 has a completely new hardware platform with numerous enhancements, some of which are:
– 32-bit ultra-low-noise analog-to-digital and digital-to-analog converters
– New app-based software architecture
– Vastly advanced pitch tracking based on 30+ years of experience
– Hard Sync between oscillators to open new sonic worlds
– On-pedal edits that can be saved into program memories
– Total compatibility with all previous Deep Impact and Future Impact patches
Setting the standard for the bass guitar synth pedals since 2015, together with an enthusiastic community and long line of great artists, the Future Impact V4 is the guitar synth platform for the next decade.
For more information, visit online at pandamidi.com/bass-guitar-synth
Exclusive U.S. distribution by Tech 21 USA, Inc
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Luthier Spotlight: Garry Beers, GGB Basses
