Forum Activity for @dusty

A lot of questions there, ShirinSam!

Based on the string gauges, this is not a baritone. I would suggest a wound .024 on the bass, .014 for the middle, and .012 for the melody strings.  You could go up or down 1-2 on any of those and still be OK.

For the wood, I suggest a product called Howard Feed N Wax. You can get it at any home improvement store or Amazon.  Get the smallest bottle available.  A little goes a long way. You just put a dab on a clean rag and rub it in.  If the wood is really dry, it will absorb it. I usually put it on and then wipe any excess off 15 minutes later.  If you're interested in a demo, check out Bing Futch's video on dulcimer maintenance .

I do have a question about the nut. From the one picture, it looks extremely thin, as though someone replaced the original with a piece of a credit card or something. Is that possible?  If so, you might consider replacing it with something more durable.

Nice find! I'm sure your daughter will love it.

Thanks for sharing that sad news with us, Lisa.  The obituary makes it clear what a caring person Judith was.

Kurt Vonnegut in a letter to high school students:

Practice any art, music, singing, dancing, acting, drawing, painting, sculpting, poetry, fiction, essays, reportage, no matter how well or badly, not to get money and fame, but to experience becoming, to find out what's inside you, to make your soul grow.

You can hear James Earl Jones read the entire letter here.   

That's quite moving, Robin.  Thanks so much for sharing.  Definitely worthy of good headphones.  And a kleenex.

Looks to be in great shape! Nice find!

Sorry you had to deal with that, Nate.  It's a shame that some people are just so filled with hate that it blinds them to how outrageous they are acting.  You'll notice that YouTube removed the "dislike" button.  It just served no socially useful purpose.  

I would think anyone watching your videos would be able to appreciate the simple joy in homemade music and experimentation that permeates your building and playing dulcimers.  I can't imagine anyone being upset at that.  But it's obvious this person did not actually watch your videos, instead assuming you were this other guy, who probably also did nothing other than beat them at a poker game or something.

There is a way to report abusive comments on YouTube. Since this person is harassing you by posting in all your videos and clearly thinks you are someone else, you might consider it.

Amen, brother.

Unfortunately, I'll be traveling this year, but I'll come up with some way to mark the day and share some music.

I have to admit that I'm the opposite: I love changing strings.  New strings look, feel, and sound better than old ones.  On the dulcimer and guitar I use regularly, I change strings about every 3 months.  The other ones might go a year without new strings, but once I pick one up to play and realize how dull-sounding and stiff-feeling they are, I put new strings on right away.  Sometimes I have a little string-changing party and change strings on several instruments at once.

Make sure you have the right equipment: a string winder, a wire cutter, a capo, a tuner.  (If you have one of those scroll heads with the closed back, you might also need some needle-nose plyers.)  It takes 5 minutes to change 3 strings, and then for several months you get to enjoy the bright tone and soft feeling of the new strings.

Strings last longer if you keep your instruments in cases. If you hang them on the wall or on stands, as I tend to do, the oxidization process speeds up. 

Maddie, you will not harm either your baritone dulcimer or your bass amp.  The sound would likely be OK but not great.  Remember that the low string on a standard guitar is lower than the low string on your baritone, so normal guitar amps can handle a baritone dulcimer with no problem.

I am asked this question a lot because I've posted videos over the years using several different dulcimers, many of which I've parted with, usually to help defray the costs of a new instrument.  And I never like to answer because it involves admitting how many instruments I've accumulated.

4 standard dulcimers: McCafferty, Stephens Lutherie (w/nylon-strings), Modern Mountain Dulcimer, Blue Lion 1C

1 baritone dulcimer: Rick Probst (built as a standard, but I've strung it as a baritone for several years)

2 octave dulcimers: David Beede & Ron Ewing

1 "baritone dulcimette" by Ron Ewing

Don't get me started on my guitars, ukulele, mandolin, autoharp . . .

Thanks for the specific recommendations, @skip.  The D'Addario option is similar to my current string (La Bella), but I'll try to locate one of those flatwound strings you mention.  I'd prefer not buy a whole set since I only need one string, but if it will work I'm not opposed to the idea.

@Strumelia, that's good advice, and I already have the specific gauges used by the builder, who, incidentally, is also creating an alternative bridge for me should I choose to string the dulcimer with steel strings.

An "occasional squeak" would not be objectionable. I find it a nice reminder that making music is a tactile experience.  But one of my philosophies of dulcimer playing has been to keep your fingers down as you move from one chord position to another to facilitate a fast and smooth transition.  That strategy is not working on this dulcimer, at least not on the bass string at present. I find myself re-evaluating my technique.

@dwain-wilder, I've already started adjusting my technique by lifting up any finger on the bass string before moving to a new chord position.  It's a challenge, though, for on the dulcimer we slide much more than do classical guitarists who have a greater range of notes in any left-hand position than do we.

Thanks for your comments, @matt-berg. It's a really special instrument.  Bob Stephens has some really innovative design principles.  The instrument sounds incredibly soft and warm and the intonation is spot on. I'm still figuring out what tunes sound best on it.

Thanks, @stumelia and @nate. One issue I have is that were I to move to a non-wound string that was thicker, I'd need to adjust the groove cut in the bridge, something I am not eager to do just yet.

I just received a beautiful new dulcimer by Stephens Lutherie built with nylon strings.  The sound is incredibly gentle, round, and warm, and I am overcome with the desire to play lullabies and other soft music.

However, the bass string is a wound string and squeaks a lot. Because the nylon strings are quieter than steel strings, the squeak is much more noticeable than on steel strings (but even on my other dulcimers I use flat wound strings to reduce the squeak).  Dulcimer playing involves a lot more sliding than does guitar playing, so it is likely that the squeaking is much less of a problem for classical guitar players.

Any remedies?

I do see that there is something called "tape wound" nylon strings.  Does anyone have experience with those?

Additionally, some classical guitar discussions online mention using Fast Fret or Finger Ease to smooth the friction of the strings.  I am not eager to start using such a substance on my instrument, but perhaps I could isolate its use to the base string.

Any thoughts?

That's a funny looking dulcimer, @Nate!

@richard-streib, that's a wonderfully meaningful dulcimer.  Even though Dan made the dulcimer recently, in a sense the dulcimer has been in your family for generations.

I second the suggestion to contact @dwain-wilder.  

That's right, Robin. I forgot about Jean's Homespun lesson.

Happy's widow Jane posted a nice statement on the Homespun homepage.  Apparently Happy died of pancreatic cancer.

To my knowledge he never played the dulcimer, but Happy Traum--along with his brother Artie--was an integral part of the folk music scene in the 1950s and 1960s in both Greenwich Village and Woodstock, NY.  He hung around with Pete Seeger and then Bob Dylan and Brownie McGee and David Ronk and was a member of the interracial folk group, The New World Singers.

I never heard Happy perform, but among his accomplishments was to found Homespun Tapes, where he shared instructional material for people who wanted to learn folk music.  Somewhere in my garage I have a bunch of those original cassettes, including one on fingerpicking like Mississippi John Hurt, singing harmony like Robin and Linda Williams, and two unique to Happy: one on hot acoustic licks and another on chords that taught moveable triads all over the fretboard.

Among the instructional videos Happy produced is David Schnaufer's Learning Mountain Dulcimer , still available on DVD or digital download. 

After several years of concentrating on the dulcimer, I decided to go back to playing the guitar a few years ago and now have a bookmarked page on my computer for my Homespun Music's "library" of lessons.  Some of the best are by Happy's kid Adam, who has continued the tradition of mastering folk music and passing on the lessons to others.

Less known than other folk musicians who achieved commercial notoriety for their recordings, Happy was nonetheless an important part of the folk music scene for about 70 years, even to those of us who never met him or heard him play in person.  I learned so much from him.

Here is the Rolling Stone obituary .

That's really clever, Ken.  A dulcimer built right into its case!

@razyn, I appreciate your visions here and think of all the suggestions so far, @ken-hulme's is probably the best, though it will entail some work.

Have you thought about using a slatwall kit instead?  Pegboard would work as well, though it doesn't look as nice.  You could easily get hardware to fit the slatwall to hold your dulcimers at different angles.  And none of it would be permanent, so you could change the display if you added new pieces to the collection or to highlight different kinds of comparisons among the instruments. Some slatwall looks downright elegant.

You can see my lazy approach to hanging dulcimers here:

FWIW, I tabbed out the basic melody with chords in Em.  But it is hard to capture that free and open feeling of the guitar version because in Em, we can't use that many open strings.

When I get some time, I'm going to revisit the tune and arrange it with a capo at the first fret, which will allow more open strings.  I might also try to transpose it to Bm.

If you're interested in the tab I created so far, sent me a personal message with your email.

I believe that's an "h" at the end of the first word rather than an "n."  According to The Session, it is an alternate title to Terry Teehan's .  If that's the same tune, the sheet music is offered in Em, but there is no C natural, so it would be playable in that key on the dulcimer.

The Stephen Wake arrangement is very pretty and makes use of the 6-string DADGAD tuning very well. It would be hard to re-create that fluid and open feel on a 3-string dulcimer.  I may try to tab this out, but it will be a while before I could get a really nice arrangement.

Hi Lilley-Pad,

My favorite dulcimer is one made by Terry McCafferty. It came with a K & K twin spot pickup.  The twin spot has has two heads, and although I don't know how Terry positioned them, the fact that there are two means that you get a more balanced sound.  I can tell you that the dulcimer sounds great amplified, and I also know that Terry worked with Stephen Seifert for a long time testing different pickup possibilities before they decided on the K & K.  Just plugging directly into an amp or DAW provides a very clean, acoustic sound.  I have some other dulcimers with pickups, none of which seem as clean as the K&K, but in some cases I don't even know what they are, so I can't say for sure any of them have an LR Baggs. 

John, I'm so glad you're back home and healing. I hope you're feeling stronger every day and I look forward to hearing more of your music.

Glad it all worked out for you.  And you probably have the only Roosebeck with a bone bridge!

AG, it is clear that you have an instrument that needs some adjustment to be playable.  That is not surprising. I've seen some Roosebeck dulcimers that were perfectly fine and others with serious design flaws.  I think they move their factories around eastern Europe and Asia, so quality varies tremendously.

This discussion settled on the "glue it down" solution, which is the correct one, I think.   Gluing the bridge and nut in their slots will stop this movement.

HOWEVER, you have now raised the issue of string spacing, and you may want to have a new nut and a new bridge made with the string spacing you prefer.  First, be aware that many traditional dulcimers had string spacing in which the melody strings were set apart from the drone strings.  And the spacing of the melody strings from each other can also be wider than you might think if the intent was for the instrument to be played with a noter rather than fingers.

So there is not necessarily anything "wrong" with the string spacing on your instrument. But if you want--at least some of the time--to play across all the strings and want to use your fingers to fret strings, you might want to ensure that the melody strings are close together and the middle string is equidistant between the base and melody.  If you are happy with the action, you might be able to just put new grooves in the existing nut and bridge.

Interesting question. I think at the core of the answer is the manner of transmission.  Classical music is taught in schools and conservatories.  Folk music is transmitted informally and orally, within families and communities.  A guitar can be a folk instrument but might also be a classical instrument. Same with violin/fiddle.  French horn?  Definitely not a folk instrument.  But there is no corpus of dulcimer music taught at the New England Conservatory of music.  The music is passed on in dulcimer jams and--until tab became ubiquitous--entirely by listening and observing.

@lorilee and @robin-thompson, Neal is only charging $5 for a download of that Richard Fariña book, but the version of "A Swallow Song" there does not contain tab. It's just the melody in standard music notation and chord names to strum while you sing.  Most of the book is tab, but there are 2-3 songs like this where the melody is not provided in tab.

The first songs I ever knew were from the Pete Seeger children's albums.  The fact that I still love acoustic music so much is certainly due to his influence. 

I have a photo of his banjo up on my dulcimer wall , and across the room are three framed pictures of record album art from Folkways: one by Pete, one by Woody, and one by Leadbelly.

I didn't know about the memorial. I'll have to make a point to get there next time I'm on the east coast.

Thanks for sharing, Ken.

Nate, I think the reason Richard suggested using loop end strings was not to save time, but to minimize the possibility that the wood might degrade and lose the grip on the screw.  If you never have to unscrew the screw, the wood would be more likely to stay intact.  In the picture MJ posted, the screw hole looks like it has to be filled.

I've never had trouble finding loop end strings of any gauge.  JustStrings sells them in bulk, plain steel from .008 to .018 and wound from .020 to .040.  For the odd string or two I just go to my local music store.  And you can also make a loop end string out of a ball end string by removing the ball. Just squeeze it with some plyers and pry it out.

I second Richard's suggestion. Once a new and longer screw is in, use loop-end strings.

Does the website actually check your IP address? I wonder if you could register an account with PBS and just choose WOUB as your local station.  I'm going to give it a try.

Well, if it will cheer you up, @ken-longfield, you can watch Mountain Born: The Jean Ritchie Story (1996).

Supposedly, so the story goes, Richard Fariña had a luthier install a 6+ fret in a car on the way to a gig so that he could perform a song he had just written, which makes me think he was tuned DAA and/or playing with a noter.  Had he been in DAd, he could have gotten the C# on the 9th fret of the middle string instead of the 6+ on the melody.  Either way, the story demonstrates that the 6+ fret is useful not only for tuning DAd and playing across the strings.

I doubt it. But that's a good question.

Yes. Absolutely. You cannot play tunes based on the mixolydian mode otherwise. So "Going to Boston" and "Old Joe Clark, " for two common examples, necessitate a 1-5-8 tuning.  My guess is that people referred to the tunings by common tunes. So 1-5-8 might have been referred to as "the Old Joe Clark tuning" and 1-5-7 might have been "the Shady Grove tuning."

More generally, I think you are right to connect full-length frets with extra frets.  The 6.5 fret allows the 1-5-8 tuning to get the major 7th note of the major scale, but melody notes below the tonic have to be played on the middle string.  So the 6.5 fret alone would not necessarily allow a drone player to play in the ionian mode.  (Not trying to scare anyone with fancy terms, plagal melodies require using the middle string in 1-5-8 but authentic melodies do not.) My point is merely that only if we are fretting across the strings can we make full use of a 6.5 fret.

Having said that, some drone-style players do indeed make use of extra frets.  Don Pedi has both a 1+ and a 6+ on his Modern Mountain Dulcimer dulcimer, although he often uses more traditional dulcimers for demonstrations.

Jerry, I don't think there is a specific time.  It was a slow evolution. According to dulcimer lore, sometime in the late 60s Howie Mitchell and Richard Fariña both independently put 6+ frets on their dulcimers. Slowly over the next 40 years or so, it became more popular and is considered standard today. 

I wonder if the same evolution will happen with the 1+ fret (which I use).  It is still in the minority now, but some luthiers are offering their standard dulcimers with the 1+ and 6+ frets, and you have to specify if you want a traditional diatonic fretboard.

I once asked Neal Hellman when he started using the 6+ fret and he couldn't even remember.  He acknowledged that his first dulcimers were all diatonic and that his later ones all had the 6+ fret, and yet he couldn't remember when he first starting using the fret.  Apparently the change for him was no big deal.

I hope this conversation can stay focused on the timing of this change rather than turn into a debate on the merits of different fret systems and styles of play.

The direction of this discussion exemplifies why Nate's original question is so hard to answer: there are a lot of variables.  He started out asking if modifying the way the strings attached to the dulcimer might increase the tension of the soundboard, thus increasing volume.   But the conversation moved on to the tension of the strings themselves and now how the fretboard is attached to the body of the dulcimer.  The "floating" tailpiece or, as David Beed calls it, the " decoupled tailpiece " surely affects the tension of the soundboard, but more importantly, by reducing its contact with the soundboard, it frees the soundboard to vibrate more, which changes both the volume and the timber of the dulcimer.  Again, that is adding another variable to the equation. Dwain and John mentioned bracing and sound posts, which add even more variables to consider

I am not a builder, and I haven't studied physics since high school, so I might be way off base here.  But I wonder if the issue is not the whether tension increases or decreases volume, but where the Goldilocks sweet spot is.  On guitars, too little or too much bracing will reduce the responsiveness of the instrument.  On a dulcimer, I presume, too much or too little tension (or stiffness of the wood) would not produce sufficient volume. If we were to map out the relationship between tension and volume, the result might not be a straight line, but something resembling a parabolic arc.

Hey LP.  I know Stephen Seifert has tab for it in his Join the Jam book, and I think I've seen @Mark-Gilston share tab for the tune as well. 

At the website dulcibertab.com, which compiles all the tab that used to be on the old Everything Dulcimer site, you can find the tune out of DAd with a capo at 1 .  I can't vouch for the quality of the arrangement, though.

Thanks, @phil-myers, but I can't take credit for the tune.  I found a short fiddle demo of the tune online, with an indication that it was written by Susan Reid.  I found a few videos online of the Vermont Fiddle Orchestra playing songs by her, so I wrote a letter to her c/o the Vermont Fiddle Orchestra, and included the dulcimer tab I had created.  I heard back about a month later.  She gave me permission to teach the song to my dulcimer group and also to post it online.  It's a cute tune indeed, and fits perfectly on the dulcimer from the open middle string to the seventh fret of the melody string in a 1-5-8 tuning.