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About me
A chance the music was present everyday in my family. I was often woken up by a Bach's fugue played on an organ by my father. Moreover, we were lots of children in the family and my father had set up a choir with all brothers and sisters; he was himself conducting the choir . All this was serious but sometimes was turning into real fun ! Hence, the music has never been a chore but lots of moments of discovery and fulfilment instead. Moreover, there was always a workshop at home for woodwork.
My father was an inventive D.I.Y enthusiast who has himself taken part in building his organs.
In the seventies, he built a spinet (little harpsischord). That was my first sight to the manufacture of stringed instruments. So that was natural for
me to put myself into this work as soon as I got the opportunity.
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In 1978, I met Bruno Perrin. After some tries in ID. ,
we settled down in 1980 in my first workshop in Barjols in the south of France, in the precious company of Gilles Mercier.
Gilles stayed working with us during one year, and gave to us all his knowledge (he was a former student in Mittenwald's school,
and took over the Grizzo's workshop in Paris).
We made our first guitars, and we canvassed France.
In 1983, I settled down
in Rennes. That's the starting point of my personnal career to make instruments on my own, taking all the benefit of all
my previous experiences.
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It took me about 11 years to make what was in my opinion
a synthesis of all I had seen, heard, and made before. In 1989, I got the reward "Best craftsman of France".
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Since the ninetees, I have worked mainly to increase the
quality of my performance guitar models, for a better timbre as well as for dynamics . That leads in 1999 to the model LS1, which
become today, after some improvements , the LS5 model.
But my curiousity to understand and to analyse the sounds world (and more particularly the guitar ones) has always lead me to
look at and to hear to what was made by my colleagues. (obviously for classical models with nylon strings, but also for models with
steel strings, and even for the violin world). Hence, I had also made "not classical" models.
To make my performance guitar models, I 'm convinced that this overview research, from old intruments (vihuella, romantic guitar)
to contemporary guitars, bring up a great richness , enabling a much finer analysis on sounds origin; an approach from global to
subtle.
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A guitar is like a language, built with words, and grammar etc. and a
language has to be precise as well as rich to be able to give a poetry or philosophical character to ideas, as well as just to chat ! Each one has to
learn the language, but the vocabulary and the structures must be at first available.
Therefore, I always aim to make sensitive and coherent instruments and I think that the starting point is the richness of tone, the dynamics
and the balance.
My world's tour in
80 guitars
My guitars are played currently
in Europe (France,
Germany, Swiss, Belgium),
in Asia (Japan, China, South
Corea, Honk-Kong, Singapour)
and in America (US, Argentina).
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