Forum Activity for @dusty

Yes, I'm thankful as well that Jeannie has emerged from the ashes of Paradise even if she lost her home and nearly everything they owned.

"Oh my" is not my reaction to that price. My first thought was "no &^R#ing way!"

I like Howard and his dulcimers as well, but I've never seen a price even close to that for a Capritaurus.

@D-Chitwood and @Brian-G, in addition to a radiused fretboard, Aaron O'Rourke's dulcimers also have what he calls a "reversed flare."  The strings are 1" apart at the nut but .8" apart at the bridge.  That might compensate for what Brian refers to as the difficulty fretting on a radiused fretboard up high.

Susie, if someone asks how many dulcimers you need, the right answer is "one more."

I don't want to go too far astray from the original goal of this thread, but it seems reasonable to ask what someone likes about the one dulcimer they identified in response to this forum question.

I bought my McCafferty before he was making radiused fretboards, so I can't speak about that attribute.  Terry's dulcimers all have a loud, round, well-balanced tone.  The tone resembles a guitar more than the high silvery sound of a traditional dulcimer.  The action is excellent and the intonation is superb.  One feature of McCafferty dulcimers that I love is the extended strum hollow.  Most of us end up strumming over the upper end of the fretboard, and that extended strum hollow allows us to pick and strum there without clacking against the fretboard. Terry uses K & K Sound twin spot pickups inside, and although I don't have too much experience with this stuff, I find them to be phenomenal pickups that provide plenty of amplification without distorting the acoustic tone of the instrument.

Mine is the shortest of the three options Terry offers.  The body of all his instruments are the same size, but he makes three different VSLs: 28", 26.5", and 25".   I think it is inevitable that you lose a little sustain with a shorter VSL, and were I to buy the instrument now, I might get a 26.5" model. On the other hand, I've already gotten use the shorter VSL and have arranged a few tunes that require stretches I wouldn't be able to make on longer fretboards.

I did have to make one adjustment to the instrument before I felt comfortable flatpicking.  The strings are pretty far apart. that works well for fingerpicking and for playing slow tunes, but I found it difficult to flatpick with any speed.  I use a single melody string, and the first thing I did was to move that single string to the inside groove on the nut.  I then made an extra groove for the bass string that was the same distance away from the middle string.  My bass and melody strings are now about 1" apart.  I have thought of making a new nut and bridge with grooves that are even closer than that, but for the moment I am doing OK with that distance.  

If you go to my video page , you'll see that five of my last six videos were made with my McCafferty dulcimer.  And here's a picture of the top. The back and sides are figured cherry and the top is redwood.  The inlay is a wolf in front of a full moon with little stars for position dots.

I'm glad this is only a hypothetical discussion.   Yesterday alone I played three different dulcimers and two different guitars. 

Dana, I was just going to respond to your personal message, but I saw this forum, so I'll respond here instead.

More and more luthiers (including Folkcraft as an option) are making radiused fretboards, but the truth is that unless you barre with a single finger like Aaron O'Rourke or Stephen Seifert, it doesn't really offer an advantage.  Then again, if more of us had radiused fretboards, perhaps more of us would barre with a single finger!

I bought a dulcimer from Terry McCafferty, but it was before he started offering the radiused fretboard as an option.

If the Ewing capo works, then you have your solution.  The Spider Capo should work once you get the hang of it.  Ideally you would want a capo with the exact same radius as the fretboard.

David Beede provides a radiused capo with his models that have radiused fretboards, so you might contact him and find out if he can sell one separately, but unless the radius is exactly the same as the Bella, I am not sure it would work.  According to the website, Bella dulcimers have a 12" fretboard radius.  Terry McCafferty used to sell capos that matched his dulcimers in design, but I don't know if he's started making radius capos. You might send an email to both of those luthiers and see if they can help you.

This is all pretty new.  If more luthiers begin making radiused fretboards and that exact radius becomes standardized, then I'm sure someone will start making radiused capos to match.

Sometimes there are sensible answers, Jane.  As @Ken-Hulme says, "railroad men were our industrial age heroes." Part of the national myth of America is a modern society slowly moving westward over a whole continent.  A simple image in a western film might be a railroad moving through the wilderness, and we all understand the symbolism. 

But it's also the case that the period of history when the railroads were built (1860s-WWI) corresponds exactly to what is known as the "golden age of folklore" when professional folklorists went around collecting popular music and stories, often precisely because they had a sense that as the railroads and other agents of modernization were transforming society, an effort was needed to capture that "folk wisdom" before it was gone forever. Very simply, a lot of folklore collections were made during the period when a lot of people got jobs on the railroad.   Working on the railroad, dollar and a dime a day/Give my woman the dollar, and throw the dime away

American music of a later period would have more songs about cars than about railroads.  Riding around in my automobile/My baby beside me at the wheel

Welcome to the dulcimer community, Jane.  Online, we can communicate faster than they could during the age of ships, the age of railroads, and the age of automobiles.

I call my dulcimers family.   

I have several wonderful dulcimers, and they serve different purposes. A tune that shines on one does not necessarily work so well on another.  However, at any given time I usually consider one of them my "numero uno."  Right now that would be my cherry/redwood McCafferty with a 25" VSL.  It works equally well for fingerpicking and flatpicking.  But ask me in a few months and my answer will be different.

Playing only one dulcimer is like drinking only one kind of wine.

@Kusani, the burl maple top on that dulcimer is astounding!

The site seems to be working well, Stephen.  I'm hoping someone posts something from Hawaii so my listings will no longer be the most westerly on the map.

Jimmy, go to the Members page by clicking "Members" from the tool bar on top of the page. Then you can type in a portion of the member's name and you will see all the possible options.  You then click on whichever one you are searching for.

I just did that and put "Jimmy" in the search bar.

JP, As Ken says, clicking on the thumbnail of your picture opens it up in the browser sufficiently large. If you click on the file name it asks you to download it.

However, there is also another way to embed pictures in posts. You chose to attach your picture using the "Attach File" button.  You can also directly embed a picture using the "Embed Local Media" tab, which is the penultimate icon on the tool bar. It looks like a piece of film.  If you click on that you can embed a picture directly into the text box.  You will have the option of about 14 different picture sizes.  The medium option looks like this:

Well I was able to play the song with little trouble.  The dulcimer sounds great, Dave. It's got a nice deep voice.

I say "little" trouble because Windows first asked me what software to use to open the file (shouldn't that be automatic?) and then claimed the file extension was unrecognizable, but when I told it to play the file anyway, it worked fine.

Don, check out this video by @Christine-Shoemaker. She is using a stand by Gary Sager of Prussia Valley Dulcimers. It looks fully adjustable. Something like that would probably be the best option.

Other good options are keyboard stands or even an ironing board.

I can't take credit for this. I learned about Howard Feed n Wax from this video by Bing Futch , and Bing credits FOTMD member and luthier extraordinaire David Beede.  It sure does wonders for an old instrument, doesn't it?

Dave, you've received solid answers to most of your questions.  Aren't FOTMD folks grand?

I have one suggestion.  If the wood feels dry, it probably is.  You might try a product such as Howard's Feed n Wax .  You put a tiny bit on a rag and rub it into the wood. Then take another rag, wipe off any excess, and let it sit 20-30 minutes.  If the wood is seriously dried out you might need more than a tiny bit since the wood will soak the stuff up. But start with as little as possible. Use it before you put on new strings so you can get to the fretboard, too. My guess is the dulcimer will show its health and happiness by really shining.  I use it periodically on all my dulcimers except the one that has a heavy lacquer finish.

I think you're probably right, Strumelia.  ED had a list of dulcimer clubs and instructors and other resources and gave the appearance of being comprehensive.  I will be forever grateful to ED for introducing me to the dulcimer and allowing me to ask all sorts of (what now seem to be ) ridiculous beginner questions.  However, I found some of the resources there outdated. When I searched for local dulcimer groups I found about 5, all of which had be defunct for years.  I hope these new resources will be kept more updated.

I was thinking Big Data is as dizzying as Big Mon .

Stephen, I only learned about Eulberg's site when I asked him if I could list the Berkeley Dulcimer Gathering on your site.  I had no idea either.

Perhaps at some point you two could indeed coordinate the two sites somehow.  And Steve E. does not include regular dulcimer groups, so perhaps the two lists can fulfill different purposes.

I recently received an unsolicited email from McSpadden checking on the details of my local group for some kind of database they are gathering.  I guess lots of folks are trying to create big data on the dulcimer world.

I just learned that Steve Eulberg maintains a list of dulcimer concerts, workshops, and festivals at Dulcimer Crossing.  The link is  https://dulcimercrossing.com/dc_events.html .

Sounds great, @Diane-R!  New strings look better, feel better, and sound better.  I know a professional guitarist who changes strings every month.  I try to do so every 3-6 months on the instruments I play regularly.  I am not sure why some people keep the same strings on for years.  They just get hard and start hurting your fingertips, as you can testify.

Dulcinina,

Someone here such as @Ken-Longfield probably knows what year McSpadden stopped using ply and started using solid wood.  That is something to take into consideration, although I think we are too afraid of plywood.  You certainly want a solid soundboard, but I've played some wonderful instruments with ply sides and back.

It's rare that McSpaddens on Ebay go for much less than $300.

That's a fine looking dulcimer, @Atilwi.  Ron Gibson has the best rosebud soundholes; they are just beautiful.  Happy strumming!

JP, I feel semi-professionally obliged to suggest that if you are indeed facing a more general feeling of malaise than merely not being inspired musically, you might want to seek expert help.  Online friends in music can only do so much.

If it is musical inspiration you seek, then perhaps we can help you.

I find that although my interest in music is pretty constant, my excitement about working on my own musicianship ebbs and flows. Sometimes I just don't have a song or technique that I want to learn or work on. I pick up my instrument and just don't know what to play.  One thing I do then--which doesn't even address the problem--is to continue playing scales and arpeggios and other exercises. In fact, I probably do more work merely on technique during the periods when I'm not inspired because I don't know what else to play and because when I am inspired, I want to play something specific.  But working on that technique means that when I do find that inspiration, I am better able to play it at a level that pleases me.

I also keep a list of "to learn" songs. When I am busy working on other stuff but discover a tune I'd like to play, I add it to a list.  Then during those periods when I'm just not feeling the inspiration, I peruse that list and sometimes a tune pops out and I rediscover what I liked about it.  If nothing pops out I sometimes force myself to start working on one of those tunes, and often once I start to "get" the tune, I also "get" what I liked about it and find my enthusiasm again.

I also keep a little file on my phone of musical ideas.  If a melody hits me as I'm leaving the grocery store, I'll record myself singing or whistling it.  A lot of that stuff never amounts to anything, but sometimes when nothing else excites me I'll listen to some of those files and find a melodic idea that I'd like to turn into a song.  It's like a repository of half-ideas that can be flushed out later on.  And when one of those half-ideas starts to become something fuller, it can be truly inspiring. 

I also seek music externally. One way to do so is to listen once again to some of the music that first inspired you.  For me, that means listening to the flatpicking guitarists who first demonstrated to me how elegant and exciting acoustic music could be: Norman Blake and Tony Rice.  But I also look for new music that I don't know yet.  Recently I've discovered the Canadian singer/banjo player Kaia Kater and the Memphis singer Valerie June.  Maybe those musicians don't speak to you.  But others will. Find them and let them reignite your inspiration.

No worries, @Diane-R. Looking back over my post I can see why you interpreted it the way you did. I really meant that members should post Events listings of their own events.  That's why I mentioned the Berkeley Dulcimer Gathering, since I've been involved in organizing and teaching workshops at that event for several years.

It also takes a lot of work to do this well. An Event listing ought to have active links to the event's webpage, links to the instructors' pages, information about how to register, costs, lodging, and more. There is no way a single person could maintain that information for more than a handful of events unless it was a full-time job.  That's part of the reason the festivals listing at the old Everything Dulcimer website was so outdated.

I should also add that there is a festivals list toward the back of each issue of Dulcimer Players News.

Could this have been it?

To get back to the original question, I've played two Ron Gibson dulcimers and they were both very nice.  The action is very low, making it easy on your left hand fingertips.  The sound is beautiful.  His standard 26" scale length is short enough for small hands but long enough for decent volume and sustain. One of the dulcimers I played was a baritone. The other was a standard-sized dulcimer and it must have been Kentucky model. It was for sale at a local music store and I didn't really need another dulcimer at the time, so I played it a bunch and left.  I went back the next day to buy it because I liked it so much and it was already gone. 

Ron's dulcimers are among the most affordable of the decent instruments out there, and honestly, other than a couple of student models, I would not recommend the dulcimers that you can find for less than what Ron charges.  He's also a member here, so feel free to check out his profile page and contact him. I'm sure he'd be happy to make you a dulcimer without a pickup installed with the wood and soundhole design of your choice.

I agree both that it would be nice to have a comprehensive list and also that such an effort would be very difficult and take a lot of work on someone's part. On ED there used to be lists of festivals, teachers, and dulcimer groups, but they got very outdated very quickly.  To create a list for a single year would take a lot of work. To maintain that list year after year when dates change, new festivals emerge, old ones disappear, and so forth, would be a herculean task.

What we can do is encourage members here to use the "Events" feature more often and list festivals as soon as dates are known.  (Perhaps you've noticed that I already created a listing for the Berkeley Dulcimer Gathering in May 2019!) When the date for an event passes, the event is removed from our general listing, but it still exists under the original creator's Events page and can be easily updated with new dates and guest artists each year.

Eventually, @Diane-R, you will need to experiment, develop your own preferences, and find the right strings for you.  Kusani has a preference for plain steel on the bass. I find plain steel does not have enough power for a bass string.  I also prefer heavier strings, so I use .026 wound on the bass, .016 on the middle and .014 on the melody. But I would not recommend that for others unless they've been playing for a while and specifically want to play in a flatpicking or other style that demands tighter strings and more volume.

My advice is to start with the kind of setup that was probably intended when the instrument was built, which was likely a wound .020, .022. or .024 on the bass, .012 or .014 on the middle, and .010 or .012 on the melody. 

Start there and then you can experiment with replacing the wound string or getting slightly heavier or slightly lighter strings or squeakless strings or whatever.

Diane, standard sized dulcimers usually use a wound bass string that's somewhere around .022 or .024.  .014 is way too light for a bass sting.  Secondly, how are you tuned?  If you are tuned DAA, then it makes sense that your middle and melody strings would be the same gauge.  If you are tuned DAd, you might want to use a melody string that's a bit lighter than your middle strings.  If you use .012 on the middle, try .010 on the melody.  Or you might use .014 on the middle and .012 on the melody.

Also, remember that new strings stretch a lot.  Whenever I put on new strings I play for a while, retuning every few minutes and also literally pulling on the strings to stretch them.  I figure this gets the stretching out so they'll stay in tune better.

And if you haven't played in a while, you should sound "choppy and sloppy."  I find I lose technique if I just take a day off.  So taking off a few years might require a bit more time before you're back into the swing of things.

Kavik, the YouTube videos you posted in your message below are of @Mark-Gilston, who is an active member here.  He is a professional musician who posts videos here regularly and also offers lessons, CDs, and books of tab.

Most of us refer to that style of playing the dulcimer as chord/melody.  Many of us play in that style, or a related style that involves more single notes and fewer block chords that we might call flatpicking.  In fact, there is a whole Group here devoted to Modern Chord Style Players .

I'm glad you had such a good time, @tumbleweed.  I've gone in previous years but wasn't able to make it this year.  I would have liked to meet Sarah Morgan.  I've done a couple of workshops with Leo (one at the Harvest Festival and one at Redwood Dulcimer Day) and definitely learned something useful in both.  Did you join the late afternoon jam?  It's always a good time. Usually @Leo-Kretzner and/or @Gregg-Schneeman lead. They do a great job of including everyone and keeping the tunes moving along.

I hope the move works out for you.  You should be at home among the . . . uh . . . tumbleweeds. 

Ron, I love that lighthouse/seabird design. Your soundholes have always been special and that new design is quite nice.

To post a picture you simply click that little icon that looks like a piece a piece of film (embed local media). It is the second-to-last icon in the toolbar, in between the eye (preview) and the happy face (smileys).  You can also use the "attach file" function just below the text box on the right to attach rather than embed an image.

Hi @Webb.  You might find David Beede's demonstration of his "decoupled" tailpiece to be interesting. I am not a builder myself, but I find the difference in tone that he gets to be truly dramatic.

Interesting, but no surprise, I suppose.

I am curious why Jim Woods states the change has not gone smoothly. Isn't the only difference which bridge they use? You would think they would have a bunch for DAA and a bunch for DAd, and they just have to switch which pile they grab from. I must be missing something here.

That's a tough one.  The standard "large" hardshell dulcimer case is about 40" long. You can probably get an extra inch or inch-and-a-half since the interior is plush lined, but I'm pretty sure 43" would be out of the question.

If you don't plan on traveling on an airplane with the instrument, you might try one of those gun cases with the adjustable foam.  The foam is pre-cut into small squares, and you remove the ones to fit your instrument.  (I think they call it "pluck to fit" or something like that.) They come in different sizes. One is exactly 43" wide, but if you put the dulcimer in at an angle it might fit.  I think they also come in 46" and 52" lengths.  Here is one at Amazon .

The air was still smokey from all the fires in Cali, and we even had ash falling onto our dulcimers, but a few of us from my local music group, River City Dulcimers, moved to the sidewalk in front of the Strum Shop where we meet monthly.  We tried to get video, but the noise from the street overpowered the dulcimers. I decided to play one of my octave dulcimers, just to expand the tonal range of our little band of dulciholics. We played five tunes: The Ash Grove, Holy Manna, Simple Gifts, Skye Boat Song, and Southwind.

My local dulcimer group meets tomorrow. Our plan is to practice a little bit and then move our chairs to the sidewalk in front of the music store where we meet and play 5 or 6 tunes.  I'll try to get a video or at least a still photo or two.

Once I get home I hope to play on my front lawn with neighbors who play fiddle and banjo.  I fear they're out of town and I'll be there all by my lonesome.

Good one, Ken. I think I have that on an old Doc Watson album.

It's funny to see this old thread resurrected.  I just decided to put together a bunch of murder ballads for a workshop next spring.

I've always thought "Long Black Veil" was creepy because the singer is dead. 

The scaffold rose high as eternity neared

She stood in the crowd but she shed not a tear

Often at night when the cold wind blows

In her long black veil she cries over my bones