COLLABORATIONS WITH MUSICIANS
La Ouessant “Cyclade” was born from the meeting with Soïg Siberil. After trying several Ouessant, it is finally a synthesis between the Spider version and the Sorbus that seemed to suit him best; The roundness of the Sorbus with the dynamics of the spider dam on a spruce table.
Frédéric Pons, DBA Fred Kopo.
1981 – 1982 Apprenticeship with violin master Christian Boyer – Violin making
1982 – 1985 London College of Furniture – High Diploma in Guitar Making
1986 – 1987 Chantiers de restauration de patrimoine – Professional Development
Continued independent consultations with noted regional guitar makers J.M. Fouilleul, J.C.Malherbe, D.Pavy.
1988 Creation of the Kopo workshop, rue Descarte in Rennes
1992 - Movement of the studio rue St Louis
1995- Creation of the Guitar'n ko Store
1998 - Movement of the workshop in St Aubin d'A
2005 - sale of Guitare'n Ko to F. Charon
Ecology – The regional wood used in the manufacture of Ouessant “insitu” confirmed for Kopo that the use of exotic woods such as mahogany, ebony or rosewood, a tradition inherited from colonial history, is really a choice based on criteria thought to be in service of acoustical functioning. Kopo has strived for many years to find regional wood species that replace conventional woods from remote sources.
Ash, for example, has long been the preferred wood carpenters and wheelwrights for the manufacture of all parts requiring high elasticity (wheels, leaf springs, bows, etc.). This is a timber whose mechanical properties promote the same dynamic stiffness that can be expected from a wood used for instruments. Other regional woods such as walnut, cherry, cypress and maple of course can also be used for the back and sides of guitars. For the soundboard, if a change in the material should take place, his research suggests a compound of different species possibly married to composites is best. From experience, spruce and cedar are not questioned in the manufacture of guitar and remain essential for their woody structure, favoring the acoustic transmission. For parts subject to more wear, such as fingerboard and bridge parts, the choice is more limited because woods that dense are more rare in Europe. However, Cormier (a regional wood species) corresponds to the criteria of hardness and stability since it was used to make tools (handles, planes made from wood, etc.). Fallen into disuse among woodworkers, this wood is now more rare and difficult to find. The wood from a lime tree used for the neck might be selected for its weight, mechanical strength, and low density. It is quite sufficient for stability and lightness especially when it is assembled in multiple folds. To every extent possible, once a wood species selected Kopo is committed to sourcing from sawmills and woods near Europe or France. It goes without saying that wood suppliers Kopo works with are able to specify the provenance of the species they are selling.
COLLABORATIONS WITH LUTHIERS
Ken parker - a geniusUS OF DESIGN
Over the course of multiple shows and exhibitions, I had the luck to cross paths with a few great guitar makers, among them Ken Parker. In 2001 at Namm de Los Angeles, I met him for the first time at Larry Fishman's stand, then in 2008 at a show in Montreal, I discovered these new archtop guitars that impressed me much more than the other instruments I had seen before! ;http://kenparkerarchtops.com/. My relationship with Ken Parker evolved with a certain complicity and friendship undertaken by the sharing of techniques and designs. It was with this guitar master and friend that I visited in spring 2009, to live and work some eight weeks in “Parkerland,” and this collaboration continues today.
FRED KOPO, PRESIDENT OF APLG
The APLG's main objective is to promote the work of our luthiers and all the artisans of the world of plucked strings, but it is also open to musicians, or to people wishing to participate in the growth of this association aiming to spread knowledge - making French instrumental and related accessories.