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dake traphagen, luthier
Description
Dake Traphagen: Builder of classical, flamenco, multi string, and nylon string jazz guitars.classical guitar maker, traphagen, luthier, classical guitar builder, luthiers, classical, jazz guitar ...
In this age of digital relationships, digital sound, and immediate gratification, we often lose sight of the hands-on nature of the arts. To me, guitar making is more than technique or science, more than just the finished product. It is an experiential, hands-on relationship one develops over years of trial and error, and comes to life when one develops a deeper insight into the medium with which one is involved.
These days, many builders feel it is imperative to maximize one's time; time is money. By designing a better jig or router combination, luthiers hope to make each part of the instrument more precise, more quickly. While I understand the need for efficiency, my experience tells me the more one physically removes the hands from the wood, the less one understands what that particular piece of wood needs.
A truly great guitar needs the human touch, intuition, and insight; therefore, I still primarily use hand tools so that I may feel the wood as I work with it. Moreover, I still use traditional glues and finishes, for I believe this helps the instrument maximize its potential. I try to build each section of the guitar in such a way that all its parts work together, and the instrument becomes a unified expression. This, to me, is the art of luthiery. When a guitar becomes a "product", it ceases to be a true expression of musicality ...
Becoming a luthier was a very pleasant surprise in life. As a young boy my parents and I purchased a viola from a violin maker and repairman who told me "you have workman's hands". An interesting thing to say to a budding musician, but in the end, it was true. As it came to pass, nearly twelve years later in 1972 , I began my studies as a violin maker/ repairman with this very man, Mr. Ed Hunnington, in California.
My mother, of course, had her hand in this "surprise". In 1970, desperately searching for a Christmas present for a son who was interested in everything, she, for some reason, bought me a Dulcimer kit. I so enjoyed building that instrument on the dining room table of my apartment, using a couple of hand tools and books for clamps, I had to try building another which eventually led to other types of folk instruments.
Another craftsmen friend encouraged me to build a guitar. With some trepidation I did, and then I built another and another and so on. Two whirlwind years later, I was studying violin making and repair while serving a two year apprenticeship with the above mentioned luthier ...
In this age of digital relationships, digital sound, and immediate gratification, we often lose sight of the hands-on nature of the arts. To me, guitar making is more than technique or science, more than just the finished product. It is an experiential, hands-on relationship one develops over years of trial and error, and comes to life when one develops a deeper insight into the medium with which one is involved.
These days, many builders feel it is imperative to maximize one's time; time is money. By designing a better jig or router combination, luthiers hope to make each part of the instrument more precise, more quickly. While I understand the need for efficiency, my experience tells me the more one physically removes the hands from the wood, the less one understands what that particular piece of wood needs.
A truly great guitar needs the human touch, intuition, and insight; therefore, I still primarily use hand tools so that I may feel the wood as I work with it. Moreover, I still use traditional glues and finishes, for I believe this helps the instrument maximize its potential. I try to build each section of the guitar in such a way that all its parts work together, and the instrument becomes a unified expression. This, to me, is the art of luthiery. When a guitar becomes a "product", it ceases to be a true expression of musicality ...
Becoming a luthier was a very pleasant surprise in life. As a young boy my parents and I purchased a viola from a violin maker and repairman who told me "you have workman's hands". An interesting thing to say to a budding musician, but in the end, it was true. As it came to pass, nearly twelve years later in 1972 , I began my studies as a violin maker/ repairman with this very man, Mr. Ed Hunnington, in California.
My mother, of course, had her hand in this "surprise". In 1970, desperately searching for a Christmas present for a son who was interested in everything, she, for some reason, bought me a Dulcimer kit. I so enjoyed building that instrument on the dining room table of my apartment, using a couple of hand tools and books for clamps, I had to try building another which eventually led to other types of folk instruments.
Another craftsmen friend encouraged me to build a guitar. With some trepidation I did, and then I built another and another and so on. Two whirlwind years later, I was studying violin making and repair while serving a two year apprenticeship with the above mentioned luthier ...
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Date
Feb 2, 2005
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Link ID
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I started my craft in Febuary 1981 , after attending a class at Guitar Research and Design run by Charles Fox in South Strafford, Vt. The class instructor was George Morris.
Each of my instruments are one of a kind masterpieces. Cost will vary from one to the next depending on complexity.
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