George Orthey Dulcimer
Instruments- discuss specific features, luthiers, instrument problems & questions
It has pins. This instrument is #856 from May 1982.
It has pins. This instrument is #856 from May 1982.
I have a George Orthey hourglass that I need to put new strings on. Can someone help me with original string gauges?
Wendell, there's a listing on Facebook market place that shows a pamphlet by Keith. Not at all sure it's 'the one', but I've not seen anything else.
I picked up a 1977 three string McSpadden M8-W the other day. I had questions about the bridge and about the model number and contacted Jim Woods at The Dulcimer Shoppe for more information. The bridge was cut away under the bass string, and I had not seen very many M8's when I searched on the internet - mostly M12's. Here's what Jim provided regarding the bridge and the model numbers:
"The cut in the bridge was for compensation. The original string set is the same one we sell now as our Ionian set. The strings are all loop end type with the bass string being a wound .022 diameter and the others all .012 plain steel. The tuning would have been either key of C or key of D. For the key of C the bas string would have been tuned to C an octave lower than middle C and the other strings would have been tuned to G five steps higher than the bass. For the key of D they would have been one step higher than that (D bass and As for the others).
The first couple of years there was no real standardization of McSpadden models as they were sort of experimenting and developing their designs and models. When they did standardize, they offered the M8 and M9 hourglass models and T8 and T9 teardrops. The M8 and T8 were a little shallower and narrower than the M9 and T9. All of those were offered both as finished dulcimers and as kits for the customer to build. The design development didn’t stop and the deeper and wider M12 and T34 soon followed. (I don’t know why they chose to not call the teardrop version T12). Most customers preferred the larger models so they eventually phased out the 8s and 9s. I don’t have a date on that but it was late 70s. The current hourglass and teardrop models we make are basically the same size and shape as the M12 and T34. In 2005 we stopped using those designations and started simply calling them hourglass and teardrop."
My M8 is roughly 36" long, lower bout is 5 3/4", upper is 4 1/2", body is 1 3/8" tall, fretboard is 1" tall x 1 1/4" wide.
Picture of the bridge is attached for reference (not sure how to link to my gallery).
It's finally back together - with no glue on the nut or bridge and new strings. I'm really happy with the results.
I've attached an 'after' picture also of the whole instrument, and a pretty rough around the edges sound sample.
I'm grateful to everyone for the sound advice (pun intended) and the encouraging words. This has been a good experience.
So it turns out i do have two original fine tuners, and managed to make two more this evening. Also picked up some strings at lunch, so hopefully tomorrow I can string it and see how it will sound. My other dulcimer is a bit smaller and I'm curious at this point to compare.
Attached a pic of the tuners (originals on the left), the bridge, and the nut. The nut actually has a spot of glue on it, and I assume it was fastened in when new. I have some titebond original and titebond hide - either would work i suppose to refasten the nut? Or something else?
Great advice on the tuners!
Any suggestions as to a case for this?
So I've uploaded a 'before' and 'after' with just one application of the Howard Feed and Wax. It really helped bring out the cherry.
And it turns out the nut is loose like the bridge, and fits very snugly into a slot at the head.
Thanks for all the help so far!
Poor choice of words on my part, as the bridge does seat nicely in the slot with no wobble. I was mainly concerned that it was at one time glued in and had come loose. I'm really impressed by the precision of the fit after all of these years (and the construction of the instrument for that matter - wow!).
Your comments on the stringing configurations were especially helpful, especially if I can set this up as a three string for noter/drone. I've been learning my way through Jean Ritchie's book and was struggling with the prospect of changing modes on a four string with wooden pegs. I hadn't thought of just using three strings...
Hi. I just bought this instrument and had some questions. It's a Keith Young #545, made in Nov 1980. It looks like solid cherry. Thought maybe someone who is familiar with these could help me out. I've attached some pictures.
What strings should I use?
There are only two fine tuners on the instrument. I have some old cherry stashed away and I think I can recreate them, but were there originally one for each string?
The bridge floats. I assume it was built that way? (I find no evidence of glue).
One of the sides appears to separating from the bottom just a hair toward the base. Any reason not to just leave this alone for now?
The finish has what appear to be water spots. Not sure of the original finish, but the instrument feels 'dry' like maybe it was an oil finish. I'm pretty good with leaving the finish as is, but can I safely clean it, and if so, what with?
There a multiple notches for the strings at both the nut and the bridge. The setup for a four string is pretty easy to see, but why the other notches?
Thanks in advance for any help and advice.
I'm the craigslist seller. Funny, but I didn't even think about posting it here.
I actually have two of these (including the one for sale), numbered #2517 and #2782. They're almost identical twins, except the fretboard on the earlier one is 3/4" thick and the latter is more like a 1/2" thick. And #2517 is initialed AWJ and #2782 is initialed JCJ.
The one I'm playing is tuned to CGC/CGG, and I like the sound of it there.