As a young teenager my first interest for the guitar came naturally toward playing. I studied guitar in late 80’s with Alvaro Pierri in Montreal (B.MUS. and a Master in performance from McGill University). After receiving a grant from the state, I went studying in Paris for 2 years with the argentinian guitarist Roberto Aussel. I used to play on Friederich guitars since 1984 (no.557). When I was studying in Paris I’ve met Daniel many times at his shop and at guitar concerts and I asked him a new guitar. He started to make my guitar in spring 1999 (no.763). I was already fascinated just imagining Friederich making my own guitar, assembling the pieces that would make a fantastic instruments. My father used to built furniture as a hobby and looking and helping him certainly contributed to develop an interest for woodworking. So, I thought at the time that I could combine my passion for the guitar and this mysterious fascination for the wood to make a guitar myself while Daniel was building mine. I asked a close friend, a very well known and excellent maker (Jean Rompré), to teach me everything about guitar making and tools. I worked very hard that summer in his shop and the resulting guitar was very satisfaying. I naturally copied my first Friederich and I had even some advices from him since he finished my guitar before me in july 1999. We studied very deeply three Friederich even doing some X-rays and measuring precisely every parts of the guitar. Those were precious teachings. Later I was invited twice in the shop of Olivier Fanton D’Andon in France where he kindly showed me most of his tips about making. I still use today many of his building techniques and he inspired me lots of jigs and technical refinements to increase precision and repeatability. So my perspective about guitar have been strongly influenced by Daniel Friederich not only because I’m playing since so many years on his guitars but also because I was hearing my teachers, Pierri and Aussel, playing the same instrument. Which was an incredible school for a student and contributed to developp a special attention to every aspects of the tone production.
As a young teenager my first interest for the guitar came naturally toward playing. I studied guitar in late 80’s with Alvaro Pierri in Montreal (B.MUS. and a Master in performance from McGill University). After receiving a grant from the state, I went studying in Paris for 2 years with the argentinian guitarist Roberto Aussel. I used to play on Friederich guitars since 1984 (no.557). When I was studying in Paris I’ve met Daniel many times at his shop and at guitar concerts and I asked him a new guitar. He started to make my guitar in spring 1999 (no.763). I was already fascinated just imagining Friederich making my own guitar, assembling the pieces that would make a fantastic instruments. My father used to built furniture as a hobby and looking and helping him certainly contributed to develop an interest for woodworking. So, I thought at the time that I could combine my passion for the guitar and this mysterious fascination for the wood to make a guitar myself while Daniel was building mine. I asked a close friend, a very well known and excellent maker (Jean Rompré), to teach me everything about guitar making and tools. I worked very hard that summer in his shop and the resulting guitar was very satisfaying. I naturally copied my first Friederich and I had even some advices from him since he finished my guitar before me in july 1999. We studied very deeply three Friederich even doing some X-rays and measuring precisely every parts of the guitar. Those were precious teachings. Later I was invited twice in the shop of Olivier Fanton D’Andon in France where he kindly showed me most of his tips about making. I still use today many of his building techniques and he inspired me lots of jigs and technical refinements to increase precision and repeatability. So my perspective about guitar have been strongly influenced by Daniel Friederich not only because I’m playing since so many years on his guitars but also because I was hearing my teachers, Pierri and Aussel, playing the same instrument. Which was an incredible school for a student and contributed to developp a special attention to every aspects of the tone production.