HAND-CRAFTED WITH PATIENCE AND PASSION
by Peggy Mandin
The Workshop
When you enter the workshop of Dave Keeley you see wondrous things: traditional hand tools, a treadle sharpening wheel, instrument patterns, a variety of hardwoods, granulated gelatin, jars of homemade varnishes, abalone and mother-of-pearl, pieces of mastodon bone, turquoise, cow bone, antler sections, even the tail hair of a Mongolian horse. All of these items are used in the creation or repair of Dave’s guitars (both acoustic and electric), violins and mandolins. Dave is a luthier: one who makes or repairs stringed instruments.
by Peggy Mandin
The Workshop
When you enter the workshop of Dave Keeley you see wondrous things: traditional hand tools, a treadle sharpening wheel, instrument patterns, a variety of hardwoods, granulated gelatin, jars of homemade varnishes, abalone and mother-of-pearl, pieces of mastodon bone, turquoise, cow bone, antler sections, even the tail hair of a Mongolian horse. All of these items are used in the creation or repair of Dave’s guitars (both acoustic and electric), violins and mandolins. Dave is a luthier: one who makes or repairs stringed instruments.
This workshop, which started out as a garage for a Model A Ford and later became a well-insulated musician’s studio, is kept at 70 degrees with 45% humidity, the most stable environment for storing instruments. Located behind Dave’s house it is his retreat and his therapy.
The Work
Dave is a true craftsman, preferring to spend hours using his hands instead of machines to produce a remarkable and unique instrument. As he described the process of making an instrument, it became obvious to me that every detail is attended to with patience and care. None of Dave’s knowledge came from classes or school; he is entirely self-taught and says he is “constantly reading”. Before repairing an old instrument he researches the make, model and year it was made so that he can restore it to its original condition.
Dave is a true craftsman, preferring to spend hours using his hands instead of machines to produce a remarkable and unique instrument. As he described the process of making an instrument, it became obvious to me that every detail is attended to with patience and care. None of Dave’s knowledge came from classes or school; he is entirely self-taught and says he is “constantly reading”. Before repairing an old instrument he researches the make, model and year it was made so that he can restore it to its original condition.
He has restored 12 violins that he put back together from a box of pieces discovered in Maine. Some of these had labels indicating they are copies of Stradivarius violins. According to Dave, “I purchased 12 violins from the antique dealer in Maine. I donated one to the Kettle Falls Library Auction and I have two on consignment at the Apple Warehouse. I’ve sold two. Not every violin had a label inside, but several did. Based on the workmanship and style of construction, these violins were all made in Germany in the late 1800’s. I suspect they came to America on a steamship many years ago. The ones with labels say Antonio Stradivarius with a date of construction of 1726. But this means it is a copy of a Stradivarius which was common back then to produce copies. All of Stradivarius’ works are accounted for and are in museums or private collections and worth millions.” Dave also has in his possession a 1634 Jacob Steiner violin, and he has built a copy of a 1920’s Lloyd Loar mandolin.
Creating an Instrument
Even though Dave enjoys working on all stringed instruments, he said that “guitars are my passion”. All of this started when Dave picked up his mom’s Stella guitar at the age of ten; he liked playing it, but he also liked to take it apart. There are a lot of pieces that go into making a guitar and Dave wanted to learn what they were.
Even though Dave enjoys working on all stringed instruments, he said that “guitars are my passion”. All of this started when Dave picked up his mom’s Stella guitar at the age of ten; he liked playing it, but he also liked to take it apart. There are a lot of pieces that go into making a guitar and Dave wanted to learn what they were.
Wood is the basic ingredient in the building of a guitar, and not just any wood. Dave searches for and cuts his own wood from our local forests including spruce, maple, walnut, cherry and cedar. These woods must be dried for many years before they are suitable for making a guitar or other instrument. He even has some old growth wood recovered from the bottom of Lake Superior. Today, dive teams are employed to salvage logs that sunk during the years of prolific logging, when floating logs to their destination was common. Old growth wood is often preferred when making instruments, and since there are no old growth sources left salvage is the only way to obtain this wood.
“In instrument building”, Dave reported, “we use hardwoods to create the body and neck, and softwoods such as spruce or cedar for the soundboard. The body and neck are rigid while the soundboard is soft and flexible.” This design is what allows the instrument to project sound.
After the wood is selected a template or pattern is used to cut out the body of a particular instrument; then Dave uses hand planes to shape it to his satisfaction. Once the body pieces are finished and glued (that’s what the granulated gelatin is used for) it is time to choose what kind of wood will be used for the fingerboard and the neck of the instrument. Again, these parts are hand carved.
Next, materials are chosen to be inlaid into the fingerboard and neck, such as the abalone, mother-of-pearl or turquoise mentioned above. Dave uses a jeweler’s saw to cut these delicate materials into various shapes. The nut and saddle (which hold the strings in place at the body and the neck of the instrument) are fashioned from bone or antler or other materials the customer requests. Because musicians are notoriously particular about their instruments Dave has a lot of supplies on hand to choose from. Dave reported that his wife is not fond of the days he prepares his cow bone. This involves getting the leg bone of a cow from a farmer, boiling it on the stove for eight hours to remove the meat, sitting it in a Mason jar of bleach for an extended period of time until it is white, then drying it until it is ready to be cut into blanks.
Dave prefers to make his own stains and varnishes to finish an instrument. Using an 1853 encyclopedia as a basis for his recipes, he experiments with ingredients (walnut husks, tree pitch, linseed oil, gum of Arabic and Ever clear alcohol) to create the color and viscosity he desires.
When asked about strings for the various instruments Dave replied, “There are hundreds of string choices for instruments. Each have their own sound. Electric guitars typically use steel or nickel strings. Acoustic guitars use steel and bronze. Some use nylon and silk. Violins use steel and silver. Years ago they used “cat gut” which is actually goat stomach.”
Violin bows use natural horse hair or manmade synthetic hair. Dave prefers bleached horse tail hair; he orders the best from Mongolia. When asked if he makes the bows to play his violins he stated, “I don’t make bows. But I do repair and rehair them. Bow making is an art itself. Many violin builders that learn to do bow making eventually become fulltime bow makers and leave violin making completely.”
About Dave
After that Stella guitar, Dave saved his lawn-mowing money and, at the age of 12 bought an electric Fender guitar. At the age of 13 he formed a band called the Glass Onion, practicing Beatle’s songs in the garage. During high school the band played gigs and dances in taverns and bars around Milwaukee, where Dave grew up. After high school he drove to California and worked in a gold mine until it closed, joined the Navy on submarine duty (for nine years) and returned to civilian life due to family, in Curlew. During his years living in Curlew, Dave made a living making guitars, teaching lessons and playing music. He and his band played in Washington State, Canada and Idaho.
After that Stella guitar, Dave saved his lawn-mowing money and, at the age of 12 bought an electric Fender guitar. At the age of 13 he formed a band called the Glass Onion, practicing Beatle’s songs in the garage. During high school the band played gigs and dances in taverns and bars around Milwaukee, where Dave grew up. After high school he drove to California and worked in a gold mine until it closed, joined the Navy on submarine duty (for nine years) and returned to civilian life due to family, in Curlew. During his years living in Curlew, Dave made a living making guitars, teaching lessons and playing music. He and his band played in Washington State, Canada and Idaho.
From 1992-1995 Dave went into business with a friend in Republic making harps. Although he loved guitars, he realized he could make money building harps. His friend had made a prototype, which others saw and wanted. They created a business called Hamadryad Harps (hamadryad being “a wood nymph that lives in a tree, like a spirit, and makes music.) At first, friends’ wives and daughters wanted harps; then they set up a program where music teachers and students could order their harps. Over a three year period they sold or rented 250 harps; music teachers from Spokane, Seattle, Portland, Billings and Coeur D’Alene bought full-sized harps and students rented a smaller version. Dave still works on harps upon request.
Life circumstances caused Dave to take a day job to support family and self and in 2000 he moved to Kettle Falls. After a five year stint working for the Tri-County Economic Development District in Colville he accepted the job of city planner for the city of Kettle Falls in August 2004.
Today
Currently Dave makes about four instruments a year working evenings and weekends; he estimates that he could make one a month if he could do it full time. Of course the goal is to make instruments and music a full time way of life. He has clients statewide, both retail stores and individual musicians; he even has clients with the Seattle Symphony. Locally, he does repairs for the House of Music and individual residents. Mellad Abeid, of Irish band An Dochas, is a customer. Business usually spreads by word of mouth, but he does have an internet site: davekeeley.com. It is worth visiting this site to see photos of Dave’s instruments and understand his philosophy about instrument creation. Dave’s tradition is to smoke a celebratory cigar with his client upon completion of an instrument, sort of like toasting a new birth or marriage.
Dave has performed at Meyers Falls Market in the past, and hopes to resume playing there once a month starting in November. Also, every year Dave offers to teach and guide a high school senior through the creation of an instrument for their senior project.
Currently Dave makes about four instruments a year working evenings and weekends; he estimates that he could make one a month if he could do it full time. Of course the goal is to make instruments and music a full time way of life. He has clients statewide, both retail stores and individual musicians; he even has clients with the Seattle Symphony. Locally, he does repairs for the House of Music and individual residents. Mellad Abeid, of Irish band An Dochas, is a customer. Business usually spreads by word of mouth, but he does have an internet site: davekeeley.com. It is worth visiting this site to see photos of Dave’s instruments and understand his philosophy about instrument creation. Dave’s tradition is to smoke a celebratory cigar with his client upon completion of an instrument, sort of like toasting a new birth or marriage.
Dave has performed at Meyers Falls Market in the past, and hopes to resume playing there once a month starting in November. Also, every year Dave offers to teach and guide a high school senior through the creation of an instrument for their senior project.
Besides contacting Dave through his internet site, http://www.davekeeley.com/, he can be reached by mail at P.O. Box 304, Kettle Falls, WA 99141 or phone (509) 738-6491. Business is done by appointment only.
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