About

Biography

My name is Fred and I’ve been obsessed with basses and guitars since childhood. When I was 15 years old I quit classical schooling to dedicate myself to my passion : lutherie. Since then, and for the last 14 years my curiosity, and research for innovative, modern, and ergonomic instruments grew on.

Meta means “after” or “beyond”, and when combined with other words, meta often signifies “change” or “alteration”. It is with this concept in mind that I have pursued and developed my creative and artistic passion of making beautiful, unique, modern and innovative basses and guitars.

As a luthier, and music lover, both sound quality and ergonomics are my primary concerns. The instruments should suit the musician’s requirements and become an extension of them and their art.

Each instrument I create is entirely handmade using the most noble materials and the best components and hardware. It offers a depurate and ergonomic design, for the most demanding  musicians.

From the initial piece of wood to the final instrument, the concept of transformation always guides me creatively. Throughout my process, I endeavour to express abstract concepts through shapes, materials and colors.

I love creating fine pieces suiting each musicians requirement. The dynamic and slender shapes, the feeling of an unique object, and the comfort of the instrument are the key elements in every creation. Every model can be customized and carefully tailored to meet the artist’s needs.

Meta is an entire transformative process, a kind of alchemy.

Headless design

Low weight and size

Removing the machine heads and headstock allows a reduced weight and makes the guitar more compact.

This improves the balance and therefore the ergonomics. No more “neck heavy”.

Easier to play on stage, easier to travel with. This design reduces the chances of hitting the headstock and breaking it when dropped.
And every bass I built fits into a conventional guitar case !

Tuning stability

Headless hardware doesn’t have gears, therefore it improves tuning stability. The reason is that this conception reduces the mechanical tolerance. Also the length of the string after the nut is shorter.

Fanned frets

Balanced tension

Each string has its own scale length. This allows to have some longer scale for the string with lower pitch. This balances the tension between treble and bass.

You can use smaller gauges for lower pitches as there is more tension resulting in a better tone and intonation, and you can keep the standard gauges in the treble for bends and playability.

Ergonomics playability 

The multi-scale might seem strange and difficult to play, but actually it’s a very natural process for the arm and wrist to accommodate this fretting layout.

It’s a matter of minutes (or not noticing it at all) to feel comfortable with it.

Single cut and ergonomic carve

Neck stability and vibration transmission

The single cut design makes the neck stiffer on the bass side, reducing the elasticity of the neck, making a tighter tone and adding some sustain.

The result is a very clear and straight tone when playing low B and lower.

Even for the Veil double cut design, I choose to push the limits of the upper size/length to stick to those principles.

Body carving

I put a lot of energy and research in the ergonomic aspects therefore the carves and shape are not only aesthetic choices. They are primarily ergonomic choices that became aesthetic afterward.

The unique shape makes an instrument that you can hold on your right leg (casual position), on your left leg (classical position) without effort or without having to carry it. The bass/guitar stay balanced with no hands on it.

The deeply carved body can be specially appreciated in standing position. The rib cage, carved heel and arm rest fit the musician’s body.

Every model can be customized and carefully tailored to meet the artist’s needs.