I can't tell you anything about Stoney End dulcimers. There does not appear to be any prior mention of them on this forum. According to their website, the current owners have only owned the business for about a year. They offer wide range of instruments, so it is unlikely that two people produce everything in house. Buying from a luthier in the USA doesn't necessarily mean the instrument was "Made in America."

As to the instruments produced in Romania, I think virtually all of them are actually made by Hora. HORA S.A. is the largest and oldest musical instrument company in Romania, with a tradition of more than 70 years. 

https://hora-instruments.com/

These are sold wholesale under many labels. In the USA the dulcimers are branded AppleCreek. They are sold under various brands in the UK.

I have about five of the smaller ones and 3 of the larger ones. I use the smaller ones in dulcimer classes and lend them to students for practice at home. I will buy more of them as I find them on charity shop listings for less than $50 with case and shipping. They are well built and "not a bad sound."

As shipped from the factory, they have one major fault. The nut is high to allow for adjustment to player's preference. It takes only minutes with a needle file to lower the notches until the strings have a height of about a 1 Pound coin thickness at the first fret. If you are a Nonsuch Dulcimer Club member you have my article in their newsletter which provides more details.

There is nothing wrong musically with plywood faces for dulcimers. Too many folks buy for looks rather than for sound.

I don't know of any dulcimer production in China. The only one from Pakistan which I have touched seemed pretty good for the price, and I would buy a used one from a website if it was cheap.

If there is no hum when the cable is plugged into the instrument and the amplifier, there is no problem. Without the instrument, the cable is acting as an antenna, sending a 60Hz signal to the amplifier input. This is a common issue with lots of electrical measuring equipment and audio gear.

If you Google "how should you connect a guitar to an amplifier?" you will see that you are supposed to plug the cable into the guitar first, and then plug the cable into the amplifier before turning on the power.

In some cases, a bad cable can cause the same thing, but that probably isn't the issue.

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It appears that punches for the Fender 355 shape are no longer readily available. The only things  I see on eBay are for "normal" picks. I don't find them with a more general search either. There used to be a variety of shapes available.

I can't answer the question directly. I don't use soft picks and I prefer one about 2 inches long.

Looking at eBay, it seems that the readily available punches only allow stock up to about 1.5 mm thick.

It might be possible for an amateur machinist, or some luthiers, to modify this style of punch by inchreaing the thickness of the spacer to allow punching of thicker, soft, stock.

 Heavy Duty Guitar Pick Punch.jpg - 36KB

While the term Pennsylvania Dutch (from Deutsch or German) is primarily used to describe the Amish today, the term has broader traditional meaning.  It covered many Americans who grew up speaking German as their first language. The website below says

"Throughout the 19th century, most Pennsylvania Dutch-speakers lived in rural areas of Pennsylvania and were of Lutheran or German Reformed affiliation. They are known as nonsectarians, “Fancy Dutch,” or “church people,” as opposed to the “Plain people,” the term for traditional Anabaptist sectarians. With the dramatic demographic changes of the 20th century, which led to greater mobility and the loss of rural isolation, maintenance of Pennsylvania Dutch by nonsectarians declined sharply."

The Amish do not play any musical instruments and are outside the dulcimer traditions.

Most of America's first professional  "truckers" were Pennsylvania Dutch who worked the National Road (now US 40 or I-70) starting about 1820 with 6-horse wagons carrying up to about 6 tons over distances of several hundred miles.

https://language.mki.wisc.edu/essays/pennsylvania-dutch/

On the membership application:

"I first saw/heard a mountain dulcimer: ______ "

Would you expect an adult to remember when they first saw a keyboard, violin, trumpet or guitar?

( Maybe today a pipe organ or piano... )

For most people, at their first encounter, an Appalachian Dulcimer is as much a curiosity as a musical instrument.

I suspect that we spend more time on “history” than the players of most other instruments. How much time do modern guitars players spend on Les Paul or C.F. Martin? In the violin/fiddle world virtually everything is a “Strad” copy, whether from Germany, China, or a backwoods shop in West Virginia.

Probably the reason is that we have too many identifiable builders of widely differing instruments. We don’t have a standard shape or tuning.

Every instrument has a wide repertoire, and a variety of playing styles to talk about. We aren’t different on that.

"... corset stays.. "

Typically whale bone between say 1700 and 1900.

One might imagine Viennese, or other urban European musicians, using scraps of ivory from the  shops of harpsichord builders on their zithers. 

Google sez: "..., while ancient civilizations utilized materials like turtle shell and hawkbill for instruments like the Greek lyre....

and "The earliest known string musical instrument pick—historically called a plectrum—dates back to ancient civilizations in Mesopotamia and the Aegean Bronze Age over 4,000 years ago, where rigid picks made of materials like wood, bone, ivory, or dried leather were used to strum instruments like the Lyre and Kithara. 

>>> I think where I'm getting all messed up with this trying to blend in with the ukuleles is that they're chromatic and we're diatonic.....

You are speaking of the fret boards, not the music.

With a basic club in a library, it is highly likely the 75% or more of the melodies (maybe even 90%+) which they actually play are diatonic. Look at the sheet music for "sing-along" tunes. You will rarely see any accidentals (sharps or flats) in them. A 6+ fret gives you one small step toward chromatic.

Since they are using C tuning, not D, tune CGcc or CGGG and play softly. I would choose CGGG and not use any chord fingering..

A beginners ukulele group isn't going to be running a "multi-instrument jam" with fiddlers or banjo players choosing the key.

Yes, mostly they will be using the I, IV, V chords, which are C, F, G, and your C and G drones will fit OK. They will also probably be challenged by anything in a minor key.

"Don't worry, be happy."

>>>  just playing the tunes root chord will work when you can't figure out the other chords

That is essentially what you are doing if you only finger the melody string - It is what happens when we play Noter-Drone style. This only works for tunes in the major key, although we can do minor key with a Capo on Fret 1.

It will usually work with a uke group since most of what they do is likely to be in C major.

All these guidelines may fail if the player(s) on either instrument are really good.

Yes, an A chord is just an A chord, no mater what the instrument, but ......

Unless you have a chromatic dulcimer, there will be lots of times when you can't play the required chord. You can't do a C or F chord in DAD, can you? They will mostly play C-F-G (1-4-5) chords.

Years ago, ukuleles were typically tuned to the key of D. There are still a number of books available on that and most of the old sheet music with uke chords used that. If you were playing a uke with a dulcimer group, the answer would be just use D tuning on you uke.

I did that for a while before I switched from uke to DAA noter-drone dulcimer.

You are trying to do the reverse.

Consider tuning a DAD dulcimer to CGc, or a DAA dulcimer to CGG (a traditional tuning). That should match up well.

If you are playing from their TABs, you'll still have to transpose chord labels if you are working from those, but D becomes C, F becomes E, G becomes A, etc.

Re Prichard: 

>>> John C. Knopf
>>> Wally, I don't know about Prichard's sales methods, but I haven't heard of him using a push-cart like Ed Thomas did. 
I thought Prichard used "sales reps" for his sales?
>>> Ken Longfield
>>> Like John, I am not aware of Prichard using a push cart or even traveling to sell his "American" dulcimer. He may have used advertising in newspapers or in advertising papers like his "Cricket." As far as know there is no evidence of how he sold his dulcimers. 

I don't know how I developed the notion that he used a cart. I've done a lot of reading in books at the WVU (West Virginia University) Library in addition to my own books and on line, so it is easy to mix up details.

I believe a relative said that C.N. Prichard made dulcimers in Bolt's Fork in Kentucky before moving to Huntington, WV between 1871 and 1880. He could hardly have supplied a group of agents while in Bolt's Fork. He apparently taught school in or near there.

I have discovered that the WVU Library has microfilm of 3 Huntington newspapers covering the time of his death. I'll try to get into the library in the nearish future and look for multiple obits, etc. There may also be city directories. I'll post at least the essence of what I find.

Origin of the Hour Glass Shape

I would like to offer a bit of speculation about the Hour Glass shape most commonly used for lap dulcimers.

I know of no evidence that the Hour Glass shape produces any definitively better sound than others. The Pear Shape is also good, and the Tennessee Music can produce great music as well.

We know that Pritchard made Hour Glass bodies on the instruments which he sold from his push cart as a business. He would have traveled from Huntington, WEST Virginia with his cart in the baggage car of passenger trains into other states.

Perhaps he, and other early commercial builders chose the Hour Glass because it sold well, rather than because of musical properties. Had they used a rectangular body, many men would have quickly whispered to the family, “I could make one of those.” The curved bodies looked much more challenging to the hill country farmer.

Is there any more reason to worry about the effect of humidity on wooden musical instruments than the effect on wooden furniture?

Humidifiers and dehumidifiers for use in cases probably can only provide for grams, not ounces, of water, and probably are only "effective" for a few hours.

Museums storing historic instruments for centuries may be a special case. Even there, conditions within display cases will change.

Good cases are valuable. They keep off rain, dust, splashed paint and small fingers, and minimize damages when dropped.

The Russian balalaika shares problems an sounds with the mandolin. It is an instrument with a characteristic triangular wooden, hollow body, fretted neck, and three strings. Two strings are usually tuned to the same note and the third string is a perfect fourth higher. It also has little sustain.

This makes me think that the full length body of the dulcimer is a great thing to have. It separates us from the cigar box crowd.

My wife, Norma, happily bought two dulcimers from Don Gardner, and others here in Morgantown have also done so through his website.

He customized each dulcimer from stock parts, giving the buyer a nice range of choices. They played well, and he readily handled problems like shipping damage. They were modestly priced. He sold at festivals in Ohio as well as on line.

Yesterday at PattyFest there was a workshop on buying dulcimers, and his name was not on the list of makers. This morning I tried looking up his website and could not find it. He also made banjos, and posts on a banjo website suggest that his website might have disappeared in February 2026. 

A web search suggests that he is still alive, and 79 years old. He may have closed his business.

Paul Pyle is certainly part of dulcimer history, if only for his dulcimer books.

• How to Tune and Play the Dulcimer (1973).
• To Build a Dulcimer: A Simplified, Economical Demonstration in the Construction, Tuning and Playing of the Dulcimer (1976).  (self published, 14 pages)
• The Appalachian Mountain Dulcimer Book (1976).
  Paul Pyle Video on Souder & Friends

You haven't given us a photo of the tuners, so I can only guess.

Based on what I have seen in photos of some McSpadden tuners, I think there is a thin nut and collar around the pin the string winds on the inside of the string box. 

I have attached a composite photo derived from the McSpadden shopping pages.

 McSpadden Tuner.jpg - 23KB

When I set string height on dulcimers, I now use a Quarter just above the first fret as a height gauge. (1st photo)

When I saw the posts about making an "inverted capo" I thought "well, then we want to lift the strings two Quarters." I happened to have a demonstration piece I had made for a class on wood construction. It was to which demonstrate that you can make very small wood-pinned structures. It was made from Craft Strips and bamboo tooth picks. My immediate thought was "those Craft Strips look like they are about a Quarter thick." (2nd photo)

I shoved a corner of the demo under the bass string of a nearby dulcimer and found the thickness was about correct.

I made a trial build using parts cut from a Jumbo Craft Stick. (3rd photo)

My trial version worked as built on many of our dulcimers. The notable exceptions were one with a 1 5/8 wide stick and several which needed it to be raised by the thickness of a piece of cereal box. 

My "final" design has only the base plate plus a short pseudo-fret. I can add a cross piece, as on the trial build to suit an individual instrument. On about half of them I have added a cardboard riser. I also added an ID label and sprayed them with a clear coating. I will be giving them away in classes. (4th photo)

You are free to make similar capos, just don't copy the label.

On my first two capos with the cardboard risers I attached the cardboard with Elmer's Glue. Big mistake, the high water content warped the base badly. I then found that Glue Sticks do a good job and are very easy to apply to either the base or attachment.

 1-Qtr Height@1st Fret.jpg - 62KB

Thanks for the information on "reverse capos." I'll definitely give that a try.

Ken Longfield said:

"A notable feature of the scheitholt is that under the second string at the fourth fret there is a hook which you can slide the string under and raise its pitch. "

That gives me an interesting idea.

If I was to install two hooks at the first fret on the bass and middle strings, I could shift into "Capo 1 tuning" for minor key tunes and still have the full range on my melody string(s). Remember I play DAA tuning with noter-drone almost exclusively. I might build one that way or try the mod on a really cheap instrument.

Wikipedia sez:

Zithers are typically played by strumming or plucking the strings with the fingers or a plectrum . In the Hornbostel–Sachs classification system, the term refers to a larger family of similarly shaped instruments that also includes the hammered dulcimer family and piano and a few rare bowed instruments like the bowed psaltery , bowed dulcimer , and streichmelodion . Like an acoustic guitar or lute , a zither's body serves as a resonating chamber ( sound box ), but, unlike guitars and lutes, a zither lacks a distinctly separate neck assembly. The number of strings varies, from one to more than fifty. 

Ken's PA German zitters are arguably very close relatives of Appalachian Dulcimers and/or sheitholts, not the Austrian zither of Third Man Theme fame which looks like a hammered dulcimer.

A grand piano is similar to a bowed psaltery ??? When talking dulcymores, you can hardly trust the American English language without using a huge number of words.

If DAD is Dulcimer Acquisition Disease, then DAA can be Dulcimers Always Accumulate.

If you want a top level dulcimer and can't do repairs yourself, you should consider buying directly from the builder. It may be cheaper in the long run. 

I see the Dulcimer Shop website says

--------------------------------

I agree with Ken that it is good to have posts which include information about historic dulcimers and builders. 

Along that line, perhaps the one you first pointed out you might have noted that it was a J. C. Shellnutt instrument. He is arguably important because he was one of the first California revival period "manufacturers."

He originated (I think) a head design which migrated to a flood of Korean instruments sold under several names in the 1960s and 70s. It is great for cutting costs, but has too much friction in the tuners and went out of fashion before 1990 or so.

On the Pyle instrument you have cited some good cautionary advice. That was good.

I just think that you should not speculate on price, and should be very careful about suggesting suitability for beginning players or collectors.

Early bids on ShopGoodwill are no indication of what the price will eventually be. We often see Mcspadden and Folkcraft instruments starting at something like $35 and closing at $200 with shipping.

Some of us here follow ShopGoodwill every day and only seriously bid in the last few hours.

There can be a bad string, but with modern wire it is unlikely that you will ever encounter one. It would almost certainly be because of a bad winding at the loop/button bass end.

You probably have too many and/or loose turns around the pin at the tuner. It can take a while for everything to slip into place.

I only change strings when they break, unless I am salvaging an old instrument. I also stick to noter-drone DAA tuning.

I measured the 3-fret distances on my old Folkcraft dulcimer and then made the triangular Fret Rocker shown from a piece of scrap aluminum I had on hand. 

I tested it against the Folkcraft and found that two frets were high, but not enough out that I could hear any problems.

If I was making another in that size I would increase the short side to 6 cm.

The size of a fret rocker must be appropriate to the VSL and scale. I may someday make another rocker for my 24 inch VSL instruments. Sides 10 cm, 6.5 cm and 5 cm, maybe.

There's nothing wrong with a 4-sided tool, but it is a bit harder to lay out than a triangle.

The aluminum was a thickish sheet from an old award plaque, not a bit of house siding. I roughed it out on my electric coping saw and belt sander. I did make sure to refine the straight edges by putting fine sandpaper on a cast iron plate and sliding the edge back and forth along it.

 Triangular Fret Rocker.jpg - 32KB

If you are selling them as musical instruments, the first concern should be how do they sound. If the sound isn't better than a cardboard one, they're not worth the cost of new pegs. If they don't sound better than an Applecreek 100 or a 1960s Korean one, they're not worth $100, and your labor cost probably isn't a good investment.

Prospective buyers must be given an opportunity to sit down and play them to hear their voice. Saying "I don't like the tuners" is an easy way to just brush off the vendor.

I have cardboard and Applecreek instruments for beginning classes, so I'm not knocking them.

And there's nothing wrong with wallhangers as decoration, just treat them as such on your display.

From a web search:

Where to buy pure, 200-proof food grade ethanol in California?

Buying 200 proof food grade ethanol in California is quick and easy from CulinarySolvent.com .  Use the links below to browse, no permit required to ship to California residents or businesses via FedEx Ground or UPS Ground .

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The vendor is a distillery in Maine. Probably expensive shipping for a pint of vodka.

A "fret rocker" can be any straight edge which spans 3 frets, but not 4. The "special tools" sold for the purpose are metal plates with 4 sides of different lengths, but you can use 4 or more separate objects as well.

If you explore the guitar makers' websites you will find suggestions that a credit card, small machinist's square or "ruler", etc. are suitable for different places along the fretboard. They don't have to be metal.

You can refine a straight edge by putting fine sandpaper on a mirror and sliding the edge back and forth along it.

Actually, it should be the distance of each fret from the nut, not the spacing between the frets. Otherwise an error at one fret throws all of the higher notes off.

With regard to your tuners vs. your dulcimers, remember that each tuner design uses a mathematical model when making pronouncements. Few, if any, tell you which temperament has been used. The ones with settings for chromatic-guitar-violin-etc. might not use the same model for all of them.

Tune until you are happy, and let the rest of the world roll by.

The question of A=440 or A=437, or Bb = whatever is a separate issue. Traditionally, "real orchestras and bands" tune by ear to whatever the oboe player sounds, not just sticking to some pitch fork or reed used before coming on stage. Having "perfect pitch" can be a real handicap.

I just took another run through the linked video. 

If you primarily play in isolation, this may be something you want to consider. 

If you play with others, remember that they will probably be in different temperaments. In addition, using "pulls" and "slides" will change the temperaments. Others may be slightly out of tune by a few cents on one string. Using a electronic tuner for each string will give a different temperament than using the tuner on one and doing the others by ear.

As a former physics major, I find it interesting. When I'm a player, I use the tuner to set my bass string, then go by ear or trust the 4th fret.

I believe that the richness of an orchestral sound comes from the instruments being slightly out of phase and precise frequency.

If you want to re-fret one of your instruments, the spacing can be determined with 

https://www.thekimerers.net/brian/YAFCalc/YAFCalc.html

Drew009: I'm playing with only one finger on my right hand and may I say I'm making a lot of music. I'm looking for an adaptive pick though that would fit over my finger for strumming.

If you want to STRUM, a THUMB pick might be better than any finger pick. I Googled " pick for people with bad fingers " and got suggestions for the BLACK MOUNTAIN Spring-Loaded Thumb Pick. It's a lot more advanced than the classic metal thumb pick. 

https://blackmountainpicks.com/pages/thumb-picks

In addition to grabbing your thumb, it's fat enough to prevent most cases of "Whoops, my pick fell through the sound hole!"

Here's a picture of my choice in picks for strumming

 My Favorte Pick.jpg - 208KB

>>> I have been known to use slides to cover up mistakes! 

Me too, particularly when playing by ear.

>>> "When I discovered my fret board (also called the finger board) was badly warped..."

A dulcimer FRET BOARD is not a FINGER BOARD, as used on most other string instruments.

On violins, guitars, banjos, etc. the fingerboard is attached to the neck of the instruments and is sloped above the body. It is a separate piece. There is air between the fingerboard and the body. The bridge is a separate piece tounching the strings and body. It may, or may not, be fretted.

A dulcimer fret board is attached directly to the body (sound box) and is always fretted. If an overlay is used, it is glued in place, and the fretboard becomes a one-piece composite structure.

Fingerboards are frequently arched in transverse section, but this is not a requirement. Our fret boards are typically flat in cross section.

I am one of those who believe that a traditional dulcimer must have a one-piece fretboard, with the bridge and nut mounted directly in slots in the fretboard. In that case the bridge does not contact the body, but vibrations are transmitted through the fretboard.

Leveling of the fret tops lets us compensate for slight imperfections in the finger or fret board straightness, but, of course a straight board is always best, and it should never be warped.

I usually build with guitar fret wire, but have also used the melody-string-only staples.

Checking back, I Googled the title " Seeger, Charles, The Appalachian Dulcime r"

and got the link

https://www.google.com/url?sa=t&source=web&rct=j&opi=89978449&url=https://fotmd.com/forum/download/forum_file/26262/Charles%2520Seeger,%2520The%2520Appalachian%2520Dulcimer%2520(1958).pdf&ved=2ahUKEwig8Mn_76uSAxXdCTQIHU6kEz4QFnoECBgQAQ&usg=AOvVaw1oHGTowFucKHdQCaggWaPF 

which looked like it was on FOTMD.

Anyway, now the paper is exposed to FOTMD.

I had not found the Charles Seeger article before, even though it is posted on FOTMD. Perhaps it is new here.

To me, there are some interesting side issues. It barely references the Ritchie family, although it does have a photo of Jean, and mentions her husband George Pickow's instruments, not disclosing that his shop was Brooklyn, NY and his connection to Appalachia was Jean.

According to Jean Ritchie's books, Charles Seeger had collected songs at the Balis Ritchie home when she was a child. At that time there was a dulcimer in the home, and Balis was more willing to play it than to sing. Didn't Seeger ask Balis about the instrument, or did he distrust what he was told?

I believe that at the time the paper was written, Jean was in New York, playing on the radio with Woodie Guthrie and Leadbelly. She surely was crossing paths with Pete's dad.

Seeger collected a tune at Arthurdale, WV while Eleanor Roosevelt was holding a square dance there. The fiddler was from the area I pass through daily, and was well known here back in the 1960s and 70s. As best I remember, Seeger put in the the Smithsonian Collection and it was recorded by the New Lost City Ramblers as "collected by Charles Seeger," not crediting the fiddler. 

I can't put 100% faith in what he wrote about Appalachian Dulcimer history.