A: Design, sound and perfect manufacturing are the basic aspects of each of our builds.

Designing an instrument is not an easy task at all. You have to combine many different aspects, which are all equally important, like ergonomics, aesthetics, sound and balance. So, you see, it’s really a puzzle. The designing of our Aural II required 14 months of headaches and nights on the computer to harmoniously blend the characteristics I have mentioned above. But in the end our customers always appreciate the care we take in each step of our work, and that’s what makes us happy.

Design isn't the most important thing in an instrument, but it's the thing we look at first when we want a new bass. So the design begins with an aesthetic idea, it develops and then a way is found to make the instrument work best in terms of comfort and functionality.

After making the first prototypes we go back to the project to correct any details to refine the sound. As you can imagine this is a very long process, but done this way it brings great results in every aspect of the instrument.

We currently have six models in production, including a micro bass with a 22.5 inch scale called Vimana that was used by Rogier Van Wegberg on David Garrett's world tour.

Each one of them has very different characteristics, in order to satisfy the needs of a vast number of musicians. Yet, all our basses share the same starting module, an essential geometric shape from which we develop the instrument in its complexity: the ellipse. Starting off from a module, an archetypical form, was taught to me during my art studies.: Gestalt Psychology is the starting point. Painting, sculpture and architecture make use of such methods in exactly the same way.

I like to say that all our series are born exclusively from imagination, but it is normal that when you create something you inevitably end up taking some aspect of what you already know. In any case, Meridian basses are among the most recognisable, thanks also to the fact that they have a clearly visible stylistic unity between the various models.

A: The sound is clearly one of the elements on which we work in an extremely detailed and, most of all, customized way. When a musician comes to us with his sound in mind, we spend hours talking about the details that will make a standard instrument his very own instrument. This is achieved by having the chance to choose from a wide choice of woods and pickups, as well as by installing customized electronics that will match the pickups we select. We only use world-class preamps, as John East and Mike Pope. As for the wood, we always use stocks with 25, 30 or even 35 years of seasoning, and this – I guarantee – really makes a difference. What’s more, we generally use unconventional woods, which contribute to add unique sound subtleties to every instrument.

In any case, the most important thing is to match all the essences for a good linear response, in order to have a well-balanced sound without lack of frequencies.

Also the finishes are one of the most important things on an instrument because they have a double impact on the final product, both aesthetic and functional. A finish must be light so that it lets the wood vibrate, as well as resistant and elastic enough to go along with the wood’s movements. It wasn’t easy to find a finish that would enclose these characteristics. Many use nitrocellulose because it allows the wood to vibrate, but then they apply 25 hands on the body to get a nice glossy look… and that literally suffocates the wood and its vibrations! I think it’s about time to get away from the sixties and from the way instruments were built back then. There are new materials now, and technologies, that are far more efficient and valid.

A: To maintain an excellent level of quality it is necessary to dedicate the right amount of time to each instrument.

We have a maximum number of basses to do each year. Doing more means stealing time from each bass. Or you have to hire workers to satisfy the request, but I like to make my own bass and I want to have control over each build, so once the maximum number of orders has been reached it is no longer possible to order more. We are proud to have already closed orders for the whole year in January.

A: Research is very important, because there are always new materials to try.

We have experimented with extreme success carbon fibers made expressly according to our specifications, phenolic resins, acrylic and polyurethane resins.

We also really like aluminum for some aesthetic details. By expertly combining these materials with selected essences the result is fantastic.

We also discovered a type of wood for fretboards that we are the only ones in the world to use and that's why we call it "Secret Wood". It has crazy resonance and incredible hardness, so it's incredible on fretboards. Using that wood we've made some fretless bassess that sound like no other.

A: Tradition is always important. We must never forget how things have been done for a long time, because there have been years of attempts and tests that have led to results.

In any case, as I was saying, innovation plays a key role in every discipline.

Even during the Renaissance, the maximum technology available at that time was used.

Perfection is always in the middle.

A: The best compliment we always receive from our customers is that playing a Meridian for the first time is as if they have always played it.

It's a great satisfaction to hear these words, because building a comfortable bass as well as beautiful is not at all easy. So the invitation is to try a Meridian soon.