Flat fingerboard (no radius) for low action, smooth bending, great control on tapping and easy chords everywhere.

Completely accessible 24 frets fingerboard with no neck heel: your whole hand can freely move up to the last fret without bulky neck pockets in the way!

2 ways truss rods: so you can have complete control on the neck relief over time. 2 truss rods on basses with 6 or more strings.

Superior quality timbers: I never use freshly acquired blanks. Once they’re on the market I always keep them stabilizing in my workshop for at least 1-2 years. But most of my wood comes from 15-20 years old stock. I’m slowly narrowing down the fingerboard woods choice down to only a few species. But what I’ll try to use as much as possible in the future is strand woven Bamboo. For several reasons: eco-frienly, stable, ultra-hard and stiff, it can be had in wide slabs and it slightly resembles Ebony as it’s almost black.

Ultra-natural feeling/looking finish: I make my own recipe of Danish oil that doesn’t yellow the natural color of woods and feels silky and not sticky. Easy to mantain and easy to refinish in case your instrument gets some scratch during its life. Keeping the wood free to breathe help it to get better with time.

Simple and sturdy construction: the neck piece runs from nut to pickup cavity, the contoured toneblock makes it sturdy, the thin body wings resonate freely against your chest. No screws, high quality glues and joints and a lot of hand shaping! Every part of the instrument is hand crafted in house by me, including knobs and logo. I only buy hardware, strings, pots etc.

Tilted headstock with compound joint on multiscale instruments: most builders use some sort of “prolonged fingerboard” to keep the nut straight and save work on the headstock build and headstock design. I don’t: every headstock follows the inclination of the nut.

Straight strings path: every instrument has a different nut width and its own personal headstock. Each one has its own tuners’ holes arrangement for the best (straight) strings path. Helps keeping the headstock free of dangerous tensions (and also looks better!).

Thin bodies: make easier to embrace the instrument, save weight and look great. They require more attention when routing and aren’t a good match for bolt-on basses but it’s not my problem… no neck screws here!

Magnetic Electronics Routing covers: standard on all basses. No need for screwdrivers, if something goes wrong with the wiring you can simply pull the cover, check and put it back in place in 2 seconds.

Shielded cavity AND pickup shells: the whole instrument is shielded with Faraday cages: one for the controls cavity and one for each pickup so even single coils are dead quiet. Great for studio musicians but also for picky live performers who can’t stand buzz.

Superior pickups: hand crafted, scatter-wound coils are the heart of all of my pickups. Quality copper wire, custom magnets arrangement with your choice of AlNiCo5, Rare Earth and Ferrite, they never fail to deliver the tone you’re looking for. AlNiCo5 sounds darker/smoother, good for vintage tones and for distortion. Rare earth probably offers the flattest response of the bunch, they’re quick-responding and focused. Ferrite is the most aggressive choice, slightly V eq.ed and dry on mids. All of the pickups work perfectly in passive and offer great range and quiet operation, whatever you choose single or humbucker. Wooden shell is shielded and is standard (like all of these features).

Sturdy, no-nonsense hardware: black, gold or chrome Wilkinson single saddles that offer spacing from a minimum of 15.5mm to 20mm or more, ultralight tuners for smooth operation, ABM headless tuners if you don’t need a headstock.

Single or doublecut? Up to you: every model can be customized free of charge. Single or double cut-away. They look and feel different but deliver the same performance.

30″ and 35″ bodies look different? They do: many builders use the same body size for all the different scale lengths, giving birth to instruments that have the bridge 10cm deep into the lower side and to others that almost have the bridge on the edge. I scale down/up the body for each instrument (twice, when the instrument is multiscale). More work but worth it!

Every scale length and spacing available: free of charge, you can choose your scale length(s) and spacing at both bridge and nut. This is only possible when working without a CNC and doing things by hand, like I do.