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Fred Kopo, luthier

Depuis plus de 25 ans, quelques petites centaines de guitares ou basses,

je consacre mon énergie à la recherche en lutherie,

à savoir l'innovation technologique, le design, l'ergonomie et bien sur le son,

électrique ou acoustique.

Très modestement, et puisque c'est ce qui me passionne le plus,

je saisis toutes les occasions qui me sont apportées par ma clientèle,

mais aussi de ma propre initiative, pour proposer de nouvelles solutions techniques,

et par conséquent de nouvelles options esthétiques,

en ajoutant ces dernières années, une problématique écologique.

Mon modèle Ouessant est à sa manière une synthèse de ce travail de longue haleine,

et tout particulièrement ma dernière version, L1 en bio-composite.

Fred Kopo, luthier

Welcome to my website ! I am as much happy to see you here than in my workshop.

Don't hesitate to visit me there too ! 

For 25 years now, I've been building hundreds of guitars, basses, and others strings instruments : violins, double basses, mandolins, ... 

My work is about research : I dedicate my energy finding innovative technology, design, ergonomy and of course, the best electric and acoustic sound.

I'm passionate about catching opportunities that my clients offer to me, but also create my own challenges, to be able to propose new technical and esthetics solutions. For the past years, I've added an essential concern : the environment. How to build environmentally friendly guitars ? Let's find out!


I'll be attending the Woodstock Invitational Luthier Showcase- US



Among several acoustic models, the Ouessant is in its way a synthesis of my technical researches.

I have experimented for more than 10 years the use of non-tropical wood, European species worthy of aesthetic, mechanical and acoustic interest, and most recently a version in bio-composites : The Ouessant L1.

The search for better understanding and improvement of the acoustic behavior of the guitars excites me - thanks to the help of acoustic researchers, we now have access to measurement tools to characterize the sound of a guitar -

we can more easily do the link between the technical choices of manufacturing, design and architecture, wood, thickness, dams, tuning fork, strings ... and the sound result, the timbre, the voice of the instrument once it is played.


I have created dozens of electro guitars, hybrid between a classical guitar and an electric one, usually equipped within an electro-acoustic system, and for steel strings models, one or more magnetic pickups are added. 

Do not hesitate to express your desires in this field, where the possibilities are great ...!



The electric guitar, with it solid-body, is also a vast area of expression for a luthier - the choice of pickups, tuning fork, type of assembly, wood, electronics, etc.

So many elements that constitute the sound palette of the instrument!



Acoustic bass is a world apart - With frets, it's a bass guitar. Fretless, it's between the guitar and the double bass - I built a few dozen in almost 30 years, always with great interest - Acoustic constraints are the same as for the guitar, privileging the low frequencies of course!



The semi-acoustic, electro or hybrid bass is an exciting instrument, thanks to the great freedom of choice it leaves to the musician as to the luthier - Many options are possible, let's talk about it!



Fretted, fretless, semi-fretted even, 4,5,6 strings and more, the electric bass is an instrument always evolving. Many formulas are possible, scale, assembly of wood, microphones, ..., the sound palette is very wide.


I propose several versions of electric double bass, from the body hollow 1/2 box to the full body model small format, equipped with one or more sensors according to your need, 4 or 5 strings.

Do not hesitate to ask !



At the beginning of the '80s, I began the violin making process by an apprenticeship with a luthier of the quartet. I therefore always have a great pleasure to study custom-made projects of violin or electric cello,  ...
Here are some examples.

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