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Tag Archive for: Nylon String Guitar

Bookmark this page for frequent updates. (Please scroll down for additional guitars.)

 

2015 Osthoff Woodstock FS

Higuerilla and Port Orford Cedar

sneakpeek

sneakpeek2

 

2015 Oxwood Carmen

Cocobolo Rosewood and Engelmann Spruce

sneekpeak

 

1997 Collings OM3-BaA

Brazilian Rosewood and Adirondack Spruce

sneakpeek

 

2012 R.E. Phillips Single Cone Resonator

sneakpeek

 

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Schoenberg Soloist OMC

East Indian Rosewood and Sitka Spruce

IMG_0484

 

 

Bookmark this page for frequent updates. (Please scroll down for additional guitars.)

 

2010 Olson SJ

Pernambuco and Sitka Spruce

P1540762

 

1963 Danelectro U2

sneakpeek

 

2005 Brandt Concert

Brazilian Rosewood and European Spruce

sneakpeek

 

Bourgeois Banjo Killer Slope D

Figured Honduran Mahogany and Bearclaw Sitka Spruce

sneakpeek

 

2003 Carrillo Gabriela

Brazilian Rosewood and Cedar

sneakpeek

 

2010 Lipton “C” – 16″ Body Exhibition Grade Whyte Laydie

Collaboration between Walter Lipton and Bill Tippin. Engraved inlay by Doug Unger.

Brazilian Rosewood and German Spruce

sneakpeek

 

1979 Ramirez 1a Flamenco

Cypress and Cedar

sneakpeek

 

2001 Charles Fox C-Sierra Nylon

Brazilian Rosewood and Sitka Spruce

sneakpeek

 

2002 Bown Stella 12-string

Koa and Spruce

sneakpeek

 

1995 Franklin Stella 12-string

Mahogany and Spruce

sneakpeek

 

1972 Kohno 15

Brazilian Rosewood and Cedar

sneakpeek

 

2010 Petros Yellow Rose FS Cutaway

Ceylon Satinwood Back/Sides, Englemann Spruce Top, Alaskan Yellow Cedar Neck

sneakpeek

 

1997 Klein M.43

Indian Rosewood and Sitka Spruce

sneakpeek

 

Buscarino Grand Cabaret

Black Acacia and Cedar

sneakpeek

 

1932 Gibson L Century

Maple and Spruce

sneakpeek

 

1957 Gibson J-200

Maple and Spruce

sneakpeek

 

1995 D-28S

Brazilian Rosewood and Adirondack Spruce

sneakpeek

 

2005 Tippin Staccato

Brazilian Rosewood and Adirondack Spruce

sneakpeek
sneakpeek2

 

2003 Martin D-45GE

Brazilian Rosewood and Adirondack Spruce

sneakpeek

 

1988 Gibson Chet Atkins CEC

P1540386

 

1933 Martin 00-40H

Brazilian Rosewood and Adirondack Spruce

P1540297

 

2012 Froggy Bottom Special Order C

Brazilian Rosewood and Adirondack Spruce

sneakpeek

 

2002 Doolin OM

Macassar Ebony and Bearclaw Sitka Spruce

sneakpeek

2014 National Dueco Tricone Gold

Steel Body with Gold Crystalline Finish. 1.5 Tricone Neck. sneakpeek

2006 John Walker “Wise River”

Mahogany and Adirondack Spruce sneakpeek

2007 Dupont Prelude

East Indian Rosewood and Spruce sneakpeek

2014 Ennis Unibody

Padauk and Spruce

sneakpeek

2011 Borges L-00

Figured Maple and Adirondack Spruce sneakpeek

Keystone Mod-D

Granadillo and Adirondack Spruce

sneakpeek

 

MacCubbin CS-012 Tulip Magnolia

Sinker Honduras Mahogany and Tulip Magnolia

sneakpeek

 

R. S. Muth S16J

Tasmanian Blackwood and Lutz Spruce sneakpeek

R. S. Muth S15

East Indian Rosewood and Carpathian Spruce sneakpeek

MacCubbin CBG-02 Heron Sunset

Brazilian Kingwood and Sitka Spruce sneakpeek

Wilborn Orchestra/C

Cocobolo Rosewood and Bearclaw Sitka Spruce sneakpeek

 

Bookmark this page for frequent updates. (Please scroll down for additional guitars.)

 

2011 Tippin Staccato

Brazilian Rosewood and Moonspruce

sneakpeek

 

Collings MT20 Mandolin

Flamed Maple and Spruce

sneakpeek

 

2014 Gaffney OM

East Indian Rosewood and Sitka Spruce

sneakpeek

 

2007 Rick Turner Model 1

Magnetic Pickup with “C” Electronics

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2010 Muiderman Steel String

Cocobolo Rosewood and Bearclaw Sitka Spruce

sneakpeek

 

John Kinnaird “East”

Honduran Rosewood and Adirondack Spruce

sneakpeek

 

2007 Ramirez 1a #2 of 125

Madagascar Rosewood and German Spruce

sneakpeek

 

2014 Lame Horse – Jenkins & Son Gitjo

Koa and Flamed Maple

sneakpeek

 

2010 Olson SJ

Pernambuco and Sitka Spruce

P1540762

 

1963 Danelectro U2

sneakpeek

 

2005 Brandt Concert

Brazilian Rosewood and European Spruce

sneakpeek

 

Bourgeois Banjo Killer Slope D

Figured Honduran Mahogany and Bearclaw Sitka Spruce

sneakpeek

 

2003 Carrillo Gabriela

Brazilian Rosewood and Cedar

sneakpeek

 

2010 Lipton “C” – 16″ Body Exhibition Grade Whyte Laydie

Collaboration between Walter Lipton and Bill Tippin. Engraved inlay by Doug Unger.

Brazilian Rosewood and German Spruce

sneakpeek

 

1979 Ramirez 1a Flamenco

Cypress and Cedar

sneakpeek

 

2001 Charles Fox C-Sierra Nylon

Brazilian Rosewood and Sitka Spruce

sneakpeek

 

2002 Bown Stella 12-string

Koa and Spruce

sneakpeek

 

1995 Franklin Stella 12-string

Mahogany and Spruce

sneakpeek

 

1972 Kohno 15

Brazilian Rosewood and Cedar

sneakpeek

 

2010 Petros Yellow Rose FS Cutaway

Ceylon Satinwood Back/Sides, Englemann Spruce Top, Alaskan Yellow Cedar Neck

sneakpeek

 

1997 Klein M.43

Indian Rosewood and Sitka Spruce

sneakpeek

 

Buscarino Grand Cabaret

Black Acacia and Cedar

sneakpeek

 

1932 Gibson L Century

Maple and Spruce

sneakpeek

 

1957 Gibson J-200

Maple and Spruce

sneakpeek

 

1995 D-28S

Brazilian Rosewood and Adirondack Spruce

sneakpeek

 

2005 Tippin Staccato

Brazilian Rosewood and Adirondack Spruce

sneakpeek
sneakpeek2

 

2003 Martin D-45GE

Brazilian Rosewood and Adirondack Spruce

sneakpeek

 

1988 Gibson Chet Atkins CEC

P1540386

 

1933 Martin 00-40H

Brazilian Rosewood and Adirondack Spruce

P1540297

 

2012 Froggy Bottom Special Order C

Brazilian Rosewood and Adirondack Spruce

sneakpeek

 

2002 Doolin OM

Macassar Ebony and Bearclaw Sitka Spruce

sneakpeek

2014 National Dueco Tricone Gold

Steel Body with Gold Crystalline Finish. 1.5 Tricone Neck. sneakpeek

2006 John Walker “Wise River”

Mahogany and Adirondack Spruce sneakpeek

2007 Dupont Prelude

East Indian Rosewood and Spruce sneakpeek

2014 Ennis Unibody

Padauk and Spruce

sneakpeek

2011 Borges L-00

Figured Maple and Adirondack Spruce sneakpeek

Keystone Mod-D

Granadillo and Adirondack Spruce

sneakpeek

 

MacCubbin CS-012 Tulip Magnolia

Sinker Honduras Mahogany and Tulip Magnolia

sneakpeek

 

R. S. Muth S16J

Tasmanian Blackwood and Lutz Spruce sneakpeek

R. S. Muth S15

East Indian Rosewood and Carpathian Spruce sneakpeek

MacCubbin CBG-02 Heron Sunset

Brazilian Kingwood and Sitka Spruce sneakpeek

Wilborn Orchestra/C

Cocobolo Rosewood and Bearclaw Sitka Spruce sneakpeek

 

Our own Paul Heumiller recently sat down in front of the cameras to talk about one of Dream Guitars’ favorite builders, Jordan McConnell of McConnell Guitars (and the Grammy-award winning band, The Duhks) for a video interview.  You see, Paul is not only has a savvy eye when it comes to great luthiers and their instruments, but also sees things from the mindset of a player. In fact, he’s a proud owner of a McConnell and shares his feelings about that fine, custom made instrument with the viewer. Paul makes clear the guitar’s ability to bring out the music and sound he feels inside, a rare trait for any custom instrument.

McConnell builds rich-sounding and versatile instruments in both steel string and classical models at his shop in Winnipeg, Canada, on the fringes of the Canadian Prairies. McConnell became enamored with the construction of guitars at a young age and has studied with famed Spanish luthier, Jose Romanillos, gaining a valuable education in the work, the craftsmanship.

Among his customers: Tim Sparks, an award-winning fingerpicking player, jazz greats Larry Roy and Harley Card, Seth Avett of the Avett Brothers and Irish player John Doyle.

So, Paul sat down in our Weaverville, NC, studio, to talk about this fine luthier, who works with his father on the construction of the guitars. As a builder, Jordan McConnell has become a hot name and his work is in demand. While we do not have currently any in stock, Dream Guitars is accepting orders for his custom builds. Paul will personally work with you to ensure you get what your music deserves. Contact us to discuss the possibilities.

Considering a McConnell now? You may also want to check out this video of Jordan McConnell at the Dream Guitars headquarters a few years ago, offering an exclusive performance. We also have several other video samples of various McConnell guitars on our YouTube channel as well as the Listening Studio on our home page.

Special thanks to Dan Crapsi and Ginny Temple, who visited our shop and filmed this interview for their blog, thegoodguitar.com.

We host a number of events here at Dream Guitars. Just one of our many ways to give back to the community and share music with others who are passionate about it. We welcome you all to come join us at a House Concert, Guitar Clinic, Setup Saturdays and other events throughout the year. Come visit Dream Guitars and the wonderful Asheville area!

INFO

Loren and Mark in Concert!

Sunday, July 7 @ 7 pm

Pre-Show Pot Luck @ 6 pm

Tickets $20, Reservations required

About Loren and Mark

Loren Barrigar and Mark Mazengarb, both virtuoso players in their own right, ran into each other several times over the years, first meeting in 2005 at Jorma Kaukonen’s Fur Peace Ranch guitar camp when working with Tommy Emmanuel. Loren was a seasoned player making his first deep foray into the world of acoustic guitars, while Mark was in the process of finishing his degree in classical guitar at the University of North Carolina. They met again in 2009 at the Chet Atkins Appreciation Society (CAAS) convention in Nashville, Tenn., and then they were late additions to the CAAS 2010 Saturday night finale performance lineup based on what the gathering of international guitarists had heard from them during the week. You can see part of that performance here.

Together, Loren and Mark run the gamut of acoustic guitar performances of both original and arranged music. With a background of bluegrass, jazz and Western styles, their thumb-picking technique harkens back to guitar greats such as Atkins, Merle Travis and Jerry Reed. When performing original compositions, Loren brings amazing vocals along with Mark’s stunning harmonies.

They have already recorded two albums together — the first of which won the 2011 SAMMY (Syracuse Area Music Awards) Best Album at the Northeast Music Industry Conference — and have been touring as a duo since 2011. For more on Loren Barrigar and Mark Mazengarb, visit their website http://www.lorenandmark.com.

Reservations required for all events, please email [email protected] or call us at (828) 658-9795.

How it works….

  • Come join us at 3 pm and bring a dish to share and a bottle of your preferred beverage. It’s always a wonderful array of treats!
  • Show starts at 4pm and performers play two sets with an intermission to mingle and meet the artist!
  • Guitar demos available in the shop before and after the show.

Future Concerts/Clinics

Paul Asbell, Mr. Versatility on Guitar, August 3

Clive Caroll, From England! February 28 (7 pm)

 

“This is the kind of guitar that makes your heart stop. It is so beautiful and so wonderfully crafted that it is mesmerizing. I simply cannot walk by it without holding it and playing it. Boaz spent countless hours tirelessly creating this museum quality piece, he even cut the Abalone from the shells. The details are too many to mention so be sure to carefully study the photos. The tone is majestic and warm, delightful in every way. This will be a prize in any serious collection.” – Paul Heumiller

Dream Guitars is thrilled to offer this stunning museum quality Baroque style guitar by Israeli luthier extraordinaire, Elkayam Boaz. The amount of detailed workmanship in this instrument is mind-boggling — from the multi-piece back to the eleborate rosette, soundboard inlays, wooden bridge extensions, friction pegs with ivory seats, ivory strings stops, and back of neck inlays. This is a true work of art.

This very guitar was the subject of a wonderful article in Acoustic Guitar Magazine by luthier Rick Turner in November 1997. The Boaz Baroque Guitar’s voice is detailed and articulate, intimate and sweet, and of course, perfect for period music.

 

    Measurements 

  • Body Size: Medium
  • Scale: 650 mm (25.6 in.)
  • Nut Width: 53.2 mm (2.1 in)
  • String Spacing: 55 mm (2.15 in)
  • Body Length: 17 3/4 in.
  • Upper Bout: 9 5/8 in.
  • Lower Bout: 12 3/8 in.
  • Body Depth @Neck Heel: 3 in.
  • Body Depth @Tail Block: 3 1/8 in.
  • Frets to body: 12
    Woods & Trim 

  • Back/Sides: Brazilian Rosewood, Maple
  • Top Wood: German Spruce
  • Fingerboard: Ebony
  • Neck Wood: Mahogany
  • Bridge: Ebony
  • Rosette: Abalone & Wood
  • Binding: Rosewood
  • Fingerboard Bindings: None
  • Headplate: Ebony
  • Headstock Bindings: None
  • Headstock Inlay: Custom
  • Top Trim: Abalone
  • Back Strip: Custom
  • Fret Markers: Custom
  • Tuners: Friction Pegs
  • Tuner Finish: Ebony

 

 

*Paul’s Pick is a new feature on the Dream Guitars website that highlights exceptional vintage and handbuilt guitars that deserve more attention — guitars with exceptional tone, playability, appearance and provenance. For more information on the featured guitar, or any instrument we offer, please call Paul or Steven at (828) 658 – 9795.

Frequent visitors to the Dream Guitars website have no doubt noticed our recent fine classical guitar demos, all compliments of one extremely talented guitarist, David Stevenson. David is both a skilled performer and an immensely gifted composer. On May, Arise Stevenson and percussionist River Guerguerian collaborate on a engaging set of music that showcases  instrumental mastery, as well as great emotional depth.

May, Arise by David Stevenson with River Guerguerian

The songs have a transcendent uplifting quality that sound contemporary and immediate, while simultaneously conjuring images or the ancient and arcane; no mean feat indeed! Guerguerian’s skillful performance, featuring a wealth of global percussion, supports and enhances the material wonderfully.

For guitarists, David Stevenson’s playing is an inspiration. Technically brilliant, the sound of his custom Abe Wechter guitar propels May, Arise with skillful execution from the very first track to the CD’s extremely satisfying conclusion. We highly recommend this very fine CD! For more information about David, and to purchase May, Arise please click here.

Check out the following clips:

1) Eastern Anthem

2) 11/8

3) Bulldozing for Zen

4) Resolution

Dream Guitars is extremely pleased to have a player of David’s high caliber to demonstrate our nylon string instruments. Look for more information about David, including video lessons and performance video in weeks to come!

Recently Doug Young dropped by Dream Guitars and taught this great 3 part guitar lesson on arranging Amazing Grace for fingerstyle guitar. To follow along with the tablature, please click here.

From Doug’s website:

Doug Young is a fingerstyle instrumental guitarist based in the San Francisco South Bay area. An active perfomer in the local acoustic guitar scene, Doug hosts a monthly guitar showcase that has featured performers like Dorian Michael, Thomas Leeb, Steve Baughman, Teja Gerken, and many more. So far, Doug has released one CD, Laurel Mill, featuring his solo guitar playing, compositions and arrangements. Mel Bay has published his best-selling instructional book: “Understanding DADGAD: For Fingerstyle Guitar.” He is a Contributing Editor for Acoustic Guitar Magazine, and has also been published in Fingerstyle Guitar Magazine. In his role at Acoustic Guitar, Doug has written numerous instructional articles, gear reviews, and interviewed many of today’s top guitarists including Tommy Emmanuel, Sergio Assad, Andy McKee, Laurence Juber and Pierre Bensusan.

To learn more about Doug, his gig schedule, and his array of reviews and quality products, click here.

 

 

 

Dream Guitars was recently honored when classical guitarist extraordinaire, Charles Mokotoff, visited  our showroom and auditioned our wonderful collection of new and vintage classical guitars. We were immediately seized by Charle’s command of the instrument, as he treated us to  an impromptu overview of his current repertoire.

Because we are a premier acoustic guitar shop, we are fortunate to have an eclectic, deeply talented family of clients and friends. We are very proud to count Charles among them. I highly encourage you to check out his music soon.

From Charle’s website:

CHARLES MOKOTOFF holds both Bachelors and Masters degrees in guitar performance from Syracuse University and Ithaca College, respectively. He has served on the faculties of numerous colleges and universities in the New York and New England area as a lecturer in classical guitar and lute.

Prior to settling in the Washington, DC area in 1991, Mr. Mokotoff made his home in New England where he was widely recognized as an active guitarist and Renaissance lute player during the 1980s. During that period his career culminated with two Far East tours and a well-received New York City debut at Weill Hall at Carnegie Hall in 1987, featuring the Premier of Autumn Elegy by William Coble, written and dedicated to him.

Mr. Mokotoff has been hearing impaired for a good deal of his life and was featured inHearing Loss Magazine in January 2010.


 

You may purchase his CD “Autumn Elegy” from iTunes by clicking HERE, or from CD Baby by clicking HERE. Or enjoy his music live at one of the the upcoming recitals.

 

 

Even more waiting to be added to the DG website.

A few weeks ago, Paul received a call from a gentleman he’d never spoken to before. Like many conversations with Paul, this one ranged from guitars and motorcycles, fast cars, and the finer things in life.

John's Classical Guitar Shrine

John's Classical Guitar Shrine

The callers name was John, and within a few minutes he and Paul discovered that they had many things in common. What transpired from that first call lead up to a monumental event of Paul dropping everything, and driving North in the largest empty white van he could find. The next day, Paul returned to Dream Guitars in Western North Carolina, but this time the van wasn’t empty. If fact it was packed floor to ceiling with over a half a million dollars worth of the finest nylon string Classical Guitars we’ve ever laid eyes on.

Cases upon cases.

Cases upon cases.

Paul explains:

“One of the true joys of this business is the chance to touch, feel and play music on bits of history. Guitars are treasures and they tell a story. I was honored to get a call from John asking us to represent his prized collection of some of the very finest Classical and Flamenco guitars ever made. I dropped everything and drove 4 states away very excited to see the fruits of his years of collecting guitars. We spent a wonderful Sunday open case by case, each more impressive than the next, Monch, Pena’ Fernandez, vintage Contreras, Ramirez and Kohno, modern gems such as Blackshear, Redgate and Humphrey. There is even an unplayed 1994 Schneider Kasha guitar complete with a video of Richard Schneider discussing his design. Flamenco guitars by Ramirez, Conde Hermanos, even a rare Valda Sobrino Domingo Estesos, and a Ruck Flamenco cutaway. Just astonishing instruments!”

A small percentage of the collection.

A small percentage of the collection.

It may takes Dream Guitars a few months to get all these stunning instruments on to our website, but if you are a lover of Classical and Flamenco guitar, we invite you to make a trip to our shop now. Flights into Asheville put you just 30 minutes from us. We humbly offer you the chance to play the very finest collection of instruments perhaps in the whole of the U.S. Come enjoy them with us. You will be amazed.

The following builders are included in this collection, with multiple guitars from several of the builders:

Brand Model Product Year
Andres Caruncho Classical 2001
Bella J. Gemza Concert 1973
Bellucci Concert
Bernabe Concierto 2002
Blackshear Concert 1999
Blackshear Flamenco 2007
Bogdanovich Guitars Concert 2005
Conde Hermanos Concert 1986
Conde Hermanos Domingo Esteso Reedicion 2004
Conde Hermanos Flamenco 1962
Contreras Double Top 1985
Contreras 1969
DeVoe Flamenco 1988
Edgar Monch Concert 1972
Francisco Barba Flamenco 1968
Gioachino Giussani Concert 2008
Greg Smallman Reproduction Lattice Braced 2002
Hermanos Yague Concert 1987
Humphrey Millennium 1993
Ian Kneipp Concert 1998
Jeff Sigurdson Flamenco
Jeronimo Pena Fernandez Concert 1974
Jeronimo Pena Fernandez Flameco 1995
Jose Oribe Concert 1972
Jose Ruiz Pedregosa Concert 2004
Kohno 15 1977
Kohno 20 1976
Kohno 30 1980
Kohno 5 1970
Kohno Professional J 1993
Kohno Professional R 1989
Kohno Special 1993
Kohno Special 1996
Kono 3 1964
Manuel Rodriguez Concert 1982
Manuel Rodriguez e Hyos La Magnifica 2010
Manuel Rodriguez e Hyos La Maja 2010
Manuel Rodriguez e Hyos La Mereuilla
Miguel de Cordova Flamenco
Moreira Anniversary #1 2005
Moreira Hauser 2004
Moreira Santos 2003
R.L. Mattingly Concert 1968
Ramirez 1a La de Camara 1991
Ramirez Flamenco 1959
Redgate Lattice Braced 2006
Ricardo Sanchis Solista 1996
Richard Schneider Kasha 1994
Rubio Concert 1967
Ruck Flamenco Cutaway 1996
V. Da y Sobrinos De Domingo Estesto Flamenco 1950
Velazquez ‘Shop Guitar’ Concert 1961

I remember my first telephone conversation with Dake Traphagen. I admit, I was a little nervous to call him — maybe it had something to do with that imposing last name. Traphagen… It just sounded tough, and to the point.

Frankly, I don’t know exactly what I expected, but to me “Dake Traphagen” sounded more like the name of a European action star than the name of a builder of fine guitars.

Okay, jokes aside, my reticence to call him seems pretty silly to me now. A few minutes into our telephone conversation, I realized that Dake is one of the smartest, insightful men I have ever had the pleasure to speak with – a real fountain of knowledge, about life, politics, history, and of course guitars.

For almost 40 years, classical guitarists have known what steel string guitarists are only now discovering — Mr. Traphagen builds extraordinary musical instruments. These are the kind of guitars that become an extension of your musical being, the kind that you bond with – guitars you can’t bear to be without.

Recently, Dake began offering his very special steel string guitars to the general public. Once, these guitars were the exclusive treasures of his friends and very close associates — but now, to the good fortune of acoustic guitarists everywhere, you can get your very own.

It is a real honor to present the following interview with Dake Traphagen. Thank you Dake, for your generosity, knowledge and candor.

DAKE TRAPHAGEN

DAKE TRAPHAGEN

You are primarily known for your classical guitars. Why have you decided to bring steel strings into the market at this point in your career?

I have made steel strings all along, but mostly for friends or friends of friends. I decided to jump in full bore because I really enjoy the creativity of all the different models I make, as well as being inspired by many of the fine players now playing these instruments.

The attention to tonal colors and musical nuances now being used is fantastic — and an inspiration to build for. Also, the level of workmanship and design in the steel string world is phenomenal, a real inspiration. How could I not want to add my little part to this renaissance?

Who did you apprentice with? And what did you take away from that experience?

My first apprenticeship was with a violinmaker and restorer/repairman named Ed Hunntington, in California. He was a superb repairman and restorer to whom I owe a great debt of gratitude. I was a violinist at the time, but when he saw my hands he said, “you have workman’s hands” — and in the end he was correct.

Five years later I studied in Holland with Nico van deer Waals. He is a master guitar and lute maker. I worked with him for several months in Europe, and when he took his vacations in the USA, we would work together in my shop. This went on for a few years, and we always inspired each other to look deeper into the how these wonderful instruments actually worked, how they were made, and their sound.  Nico and I enjoyed a deep friendship.

You are known for having an incredible supply of Brazilian Rosewood, some of which is over 150 years old. How does the stability of this premium grade wood differ from the highly figured crotch/stump wood many builders are using these days? And is there a significant tonal difference?

I’m fortunate to have a good friend in Brazil whom I’ve visited several times. We would go to salvage yards and find gems in the rough. Sometimes we find Brazilian rosewood beams, which we’ve since carbon dated.

The oldest one so far was cut in 1786. I currently have wood from beams dated 1887 and 1904. Some of the stump wood is quite old as well, late 1800’s, and it is excellent tone wood.

I use a heat press to pre-stress all my backs to make sure they will remain as stable as possible throughout the life of the guitar which it is used in.

This very old wood just seems to have a magic to it. I know that sounds a bit corny, but each guitar I make with this wood turns out be really special. It’s a mystery to be sure.

Tell me about your new website.

The updated website has many more photos, and has been divided into a steel string section and a classical/nylon string section. I’m working to get many more sound clips, which I hope will be coming soon. At least the players say they are!? As with most web sites if you want to keep them current it’s going to be a continual work in progress.

Dake in the shop.

Dake in the shop.

I am particularly fond of your dreadnoughts – they have amazing    headroom for the flat-picker, yet sound great when softly fingerpicked. How do you build a large body guitar that has such great dynamic range, and is not just a cannon?

All of my guitars are considered to be loud — and I could make them even louder,

but I feel the musical quality of the instrument is lost when you just go for

volume. I have been using a different bracing pattern on many of these guitars,

which is a modified standard ‘X’ bracing and lattice bracing combination.

This bracing design produces a guitar that has a very nuanced sound, capable of a wide color pallet, and excellent dynamic range. It’s an exciting change from the ‘standard’ bracing pattern we all know and love. Also, I just get lucky sometimes. The harder I work the luckier I get.

I’ve heard your name pronounced a variety of ways: Trap-hag-in, Traf-hagen, etc. Which is correct?

Here in the good ole USA it’s pronounced Trap-hagen (long a as in day). In the old country it would sound like Trop-haugen.

Can you explain how you make double tops for your guitars, how they differ from other double tops, and what they bring to the sonic equation?

The double top, or ‘sandwich’ top, has been a design feature in classical guitars for the past 20 years or so. The salient point of a double top is the weight to strength ratio. A well-designed and constructed top is 15% -20% lighter in weight than a traditional top, yet has the strength of a solid top. This is true with both classical and acoustic guitars.

The actual mechanics of a double top, the way the top moves when a string is activated, is also different than solid wood. It moves/pumps more as a cohesive unit than a solid top, thus influencing the overall sound to be more even and full, and usually a bit louder than solid wood.

My construction method is quite complex — with the use of a router and outline gig to cut the cavity where the Nomex will be glued, and using a vacuum clamp system to glue the Nomex to the inside. There are strategic places in the main core of the top that are still solid wood  which helps the overall structural integrity of the top. I use different configurations in the wood core depending on the size and shape of the guitar.

So far I have used it for classical guitars, ‘OO’, ‘OOO’ and my concert model steel strings. I’m not sure yet if it’s appropriate to use it on large bodies such as a jumbo or Dred size guitar. I’m going to have to make one and see how it turns out. If it works well, then I think it would make a great finger style jumbo guitar.

I’ve recently seen one your guitars with stunning Myrtle wood back and sides. What tonal characteristic does this wood have?

Flamed Tasmanian Myrtle wood is visually a very striking wood. It’s overall weight and sound characteristics lie somewhere between Indian rosewood and Mahogany. It’s fairly easy to work with, and I look forward to using it on future guitars.

In addition to Myrtle wood, what are some of the alternatives you have to offer clients, beyond Brazilian, Indian, and Mahogany?

In the rosewood family, Honduran Rosewood is my second choice to Brazilian. Panamanian Rosewood is also acoustically very similar to Brazilian, but it is rare to find, and often light in color — which is not that appealing to people who are used to seeing dark rosewoods. If it was readily available,  I wouldn’t hesitate to use it. It makes great sounding guitars.

Spanish Cypress is also one of my favorite back and side woods. Most people think of it as only being used in flamenco guitars but it works great for standard classical guitars, and I look forward to using it on a steel string before long.

Is all Brazilian Rosewood equally appropriate for classical guitars, and steel strings? That is, will a great set of wood for a classical guitar automatically mean the wood is great for a steel string? Or do you look for different properties, even within the same species of wood, which make it more appropriate for specific guitars?

In general great wood is great wood for any stringed instrument. That being said, there are some sets of Brazilian that are so heavy I would prefer to use them on a larger body steel string guitar rather than a classical or small body acoustic. Great Brazilian Rosewood is rare, and if thicknessed appropriately, it should make a great guitar of any style.

You’ve developed a unique hybrid bracing system for your steel string guitars. Can you describe the way you brace, and why you’ve come to believe that this is the best way for you to do it?

I referred to my bracing system earlier, but prefer this hybrid ‘X’ lattice design because of the way it distributes tension evenly over the entire top. It seems to activate the top more as a whole unit, as opposed to the various tone bars for specific areas in the traditional design.

I still make traditionally braced steel strings for those wanting that ‘traditional’ sound, but usually I use this hybrid system when I’m free to make the guitar the way I choose.

I don’t see Sitka spruce available as an option on your website? Is this an intentional omission? Do you build with Sitka?

Well, this may rub some people the wrong way but I just don’t like the sound of Sitka spruce. In general it is much too dense for classicals and has a rather generic sound on steel strings.

I much prefer the spruces from Europe, with all their variations. Northern Italian spruce is quite different from the Swiss ‘moon’ spruce. Carpathian spruce has its own voice and is different from German spruce. Adirondack spruce has its own character as well, and is actually quite similar to the Carpathian spruce in my view.

Depending on the sound a client is requesting, I can use these different spruces to help achieve the voice the player hears in their head.

Do you use hide glue? Why or why not?

I do use hot hide glue, as well as fish glue, which is very similar in strength and hardness. I always use it with everything having to do with the top. Sometimes I’ll use it for the entire instrument. I prefer hot hide glue or polyurethane glue for the fingerboard, as it will not ‘creep’ under extreme climate conditions.

I often use clear aliphatic resin glue, like Titebond but clear, for the back and linings.  It goes on very cleanly and cleans up easily too, When you look through the sound hole you don’t see any excess glue, which is difficult to clean off when it’s hide glue.

I’ve never asked you this before — are you a good guitar player? Do you think being a player is essential to becoming a great builder?

I do play some. Not as much as I used to as my hands are a bit ‘used’ from building for so many years. It will be 40 years next year, yikes! As my violinmaking teacher told me “you have workman’s hands”.

I have played many different instruments over the years, mostly strings and keyboard, and I do think it helps to be ‘musical’ in order to make a fine guitar. Historically however, luthiers usually didn’t excel at playing the instruments they made. For instance, a violinmaker may have been a very good horn player and so on.

I am intrigued by your French Baroque guitar. Is it based on a specific historical instrument, or is it your interpretation of that style?

There are two Baroque guitars on my website. One is in the guitar section and another in the slide show. The one in the guitar section is a copy of a French Baroque guitar in the Victoria Albert museum in London built by Jean Voboam. I had the pleasure of handling this guitar and measuring it while I was visiting London.

The other is an Italian Baroque guitar based on a guitar by Mateo Sellas, which I measured and cataloged while visiting the Brussels Conservatory of Music in 1975.

The tunings and double stringing are different between the two as well. In the early music scene, players want historically accurate instruments in order to play the repertoire as closely as possible to the way it would have been played back in its day. I rarely make these instruments anymore, as the decorative work becomes rather tedious and laborious. It was very exciting the first few times I did it, now however I know how much time it’s going to entail so I shy away from it.

What sets Traphagen guitars apart from other custom and high-end hand built guitars?

Each builder has their own unique sound, and works in a way that makes sense to them. It is nearly impossible for me to copy another builder’s guitar and expect it to sound exactly the same — and vice versa. We luthiers are, in a way, stuck with our own voices/sound. Sometimes that is a little frustrating if you’re trying to make big changes in ‘your’ sound.

I’ve done a lot of experimenting with top bracing for instance — sometimes radical changes — and in the end they will have slightly different characters. Overall though, they still sound like one of my guitars.

I once had and apprentice who was making some nice guitars. We decided we would make identical guitars using wood cut from the same boards, using the same tools, in the same shop environment, with the same design/plan etc.

In the end you could tell the two guitars were related, but his sounded like his and mine sounded like mine.

My guitars are known for their volume and beauty of tone. If this is what a player is looking for, then they’ll love my guitars. Also, having nearly 40 years experience doesn’t hurt.

The luthier's workbench.

The luthier's workbench.

What advice would you give to someone who is considering a career in luthiery?

If you don’t get consumed/obsessed by it then it’s not for you. This craft takes complete dedication and it’s hard work as well. You’ll spill a lot of blood, sweat, and tears – literally – in the pursuit of becoming an accomplished luthier.

Also, start off with a standard tried and true pattern and bracing system. I’ve seen many novice builders think they are going to change the guitar world with some clever design, only to find that they didn’t really understand the basic mechanics of how a guitar produces sound in the first place.

Many builders say you won’t really understand what’s going on until you’ve built at least 100 guitars. I think that time frame has been shortened a bit because there is so much more information readily available now, as opposed to when Istarted back in the dark ages. However, hands on experience is still the best teacher – as long as one is paying close attention to what their doing.

Even after all the hours and years I’ve put into guitar making I’m still learning little things I didn’t realize before. It becomes a way of life, not just a job or ‘product’.

Do you have any final thoughts for the readers of our blog?

For me building guitars has been, and still is one, of the most gratifying pursuits I can imagine. Each day I thank everyone who has helped me along the way to becoming a better builder and having such a fantastic ‘job’.

Please don’t call your guitars a ‘product’. I feel it is an insult to the builder, and to the amazing musical instrument that is the guitar.

I also want to thank you Steven, and Paul, for believing in my guitars and for giving me the chance to share a few thoughts about my instruments. Good luck to everyone who is building or wants to build these beautiful musical tools,  and to the players that make us luthiers sound so good.