Global was, I believe, a Korean company known for their cheap knock-offs of Gibson guitars in the 60s. What you may have found is a pretty good dulcimer. Is it hourglass or teardrop? I've got one of those Korean teardrop knock-offs of the Magic Mountains that sounds really good and plays nice as well.
A pic or url would help us advise. :)
Ken. I sometimes play regional variations. There's a lot of them when it comes to old tunes.
Bing Futch used one of these for small gigs. Actually sounded pretty good, I thought. Now, it's not a Fender Acoustisonic, but it don't cost as much either LOL.
http://www.amazon.com/Audio2000S-AWP6040-Portable-Rechargeable-System/dp/B001DN6REG
George, there are a lot of different tunings for 4 equidistant strings. My 1st dulcimer was tuned DAdd, so that's how I kept it, mostly. Nowadays I use more DAAd. I love DAdc, fretting mainly the melody string and letting the others drone. DAdA is one Jean Ritchie used and noter players still use. I came up with DGcd for "Rocking the Cradle that's None of My Own." I love the freedom of 4 independent strings.
Is the that the Fellenbaum that was on Ebay? I did look at it.
Actually an HD-4 was spruce and rosewood and should have a pretty good sound. I'd think it would be well worth repairs.
Well, I found a 3rd setting of Reel de Gaspe. Here they are.
According to thesession.org ( https://thesession.org/tunes/3767) there are 2 different tunes called by this name. I hope to have both of them tabbed tonight or tomorrow. When I do I'll post them both on here, so you can tell me which one is the one you want.
Thanks Rob!! I appreciate and enjoyed your information. I will look into that Rodico there is some other stuff I saw for sale on Elderly instruments; Ever hear of this;
http://www.elderly.com/schertler-putty-for-dyn-series-pickups.htm
Marg, it looks like Rodico in a round tin to me. I think it's made in Switzerland, too. If you try it, take a small amount, roll it into a very thin strip and when you're done, you put it back with the rest of it. It lasts "forever."
Ken, you're right the thinner tape is the best to use. I cut it into thin strips so it attaches only to the edges of the pickup. I also take it off when not in use.
Don't know anything about that pickup, Maria; I use a Schatten Dualie. When I got it, it came with double sided tape. Still have some; still works. Now it comes with some tacky "stick 'em." They sent me some and it does work good. What I've wanted to try is "Rodico One Touch." I used to work on watches and clocks. That stuff would not mar a porcelain dial on a watch from the 1700's and would hold the gears in place for tricky setting of plates. (Now that probably meant nothing to any of y'all, but trust me, it's cool.) No residue; good and sticky; doesn't take much to work well, doesn't lose it's stickiness. Oh yeah, did you try moistening the suction cup? Seems like I used a suction cup pickup back in the day on a classical guitar. If I remember right, if you push it sideways as you mount it, it forces more of the air out and it stays on longer. I would put it about an inch or two closer to the soundhole of the guitar then as I put it on, I'd also push it back toward the bridge as I was pushing down on the cup. It would quit moving and be pretty close to the right spot most of the time LOL
Been trying to think of the name of that group for 3 days. Thanks, Robin. Ken that must have been really interesting to hear him.
Yep, Nimrod, there are all sorts of considerations. All things considered, if everything else was the same, wood, shape, vsl, and sound, I'd go with 4 strings. Yep, you can take one off or you can play 4 independent strings or you can have a double course. I'd rather have 4 strings than a 6 1/2 fret LOL, but I'm weird.
Shoot, Lisa, if you "insulted anyone" for giving your opinion, then let 'em get over it or seethe to themselves.
Good points, actually; some of what you mentioned I hadn't noticed, so.... maybe, maybe not. Next time I'm tempted on a weird one on ebay, I may ask you to take a look at for me. 
OK, I'll be the one. Why not, Lisa?
Mark, Dusty's option of using a capo is quite viable. I use one myself, sometimes. However, depending on what's being played, I'd rather retune. I read an interview in DPN with Alan Freeman where he said something to the effect that we're already "missing" frets so why would you want to shorten the fingerboard with a capo and make more frets unusable? Even tho' I was using a capo a lot at the time, that thought stuck with me. I'm trying to play a lot of tunes/songs in the correct key without using a capo and staying (like Dusty) in DAd tuning. [To reiterate what he said, the lower case d just means it's an octave above the bass D.] I play Down Yonder and Silver Bells (not the Christmas one, the Mexican Polka) in G and You'll Never Leave Harlan Alive in A without either retuning or using a capo. If'n I'm just going to be chording, playing rhythm, like Dusty (again,) I play barre chords without using a capo or retuning for G and A tunes.
I usually take (at least) 2 instruments to jams: 1 tuned DAd, 1 tuned DAA, both of them 3 courses. The DAd I can tune to G DGd, A minor EAd, D minor DAc and the DAA I can tune to A major EAA or D minor DAG all with moving only one string. If I take a 3rd instrument, it will be tuned to G, either a Jim Good in his special G tuning or a small 4 string Paul Pyle tuned GDDg.
You see, you've got options. That's something that makes this instrument really cool and also really frustrating (as in capo or retune or another instrument, yeah that's the one!) at the same time. Those folks that like things really cut and dry can have a problem getting their heads around such things. LOL. Well, I've probably confused you enough for now. Keep picking
Yes, Marg, you can do that. When I was talking about going all over the fingerboard it was more because I don't use the 1 1/2 fret. 6 1/2 on the melody is 9 on the middle so there's not a lot of jumping around.
It's probably not as detailed as you'd like, but I did do a video with tuning wooden pegs at the request of a member here as an introduction to an instructional video once. I just put it up on Youtube.
There's only 2 things you need to get wood pegs working right: spit and chalk. If the pegs seem tight then carefully loosen them and put some chalk where the peg meets the head. I use billiard chalk but you can use blackboard chalk. I use moisture to swell the peg if it's slipping a little. You don't have to spit on them. lol.
Yeah, Guy, but it sure is "cool" to play all over the fretboard. In 2014 I was playing with some folks (fiddle, bass, autoharp) at the local farmer's market. The fiddler called out "Over the Waterfall," one that I use the 6th fret on the bass string to get the C natural in the A part. After we were finished I heard someone say, "boy, they ran that guy with the dulcimer all over that thing." It was pretty nice that they noticed.
Well, Marg, this question usually opens up quite a can of worms! 1st. Do you "need" a 6 1/2 fret? No, you don't "need" it. Listen to Robert Force and the late Roger Nicholson, neither of which ever had one on their instruments. Is it a convenience? Absolutely! Tunings really aren't the issue here since Force uses DAd without the 6 1/2 fret. Michael Rugg told me in an email last year that he still prefers an instrument without one and he's a DAd player as well. 2nd. Looking for the "right" note on a "pure" diatonic fretboard is (to me) part of the fun of playing the dulcimer. [I use the term "pure" before the word diatonic solely to indicate there are NO extra frets on the fretboard. I do NOT intend to imply it's in some way better.] 4th. I would not add a fret to any instrument but neither would I take one out of an instrument which had one. 3rd. (yes, I know I went out of order.) Any good luthier (instrument maker/repairman) should be able to add one if that's what you decide to do. However, if there was a good dulcimer maker, whose work I trusted to be "right on" as far as intonation is concerned, I would use him.
One of the reason I have several dulcimers is that some of them are diatonic, some have a 6 1/2 fret. I enjoy playing on both and keep several of them tuned differently for quick change in jam sessions with fiddlers. You'll see me with 3 and maybe 4, usually 2 without 1/2 frets, and 2 with 6 1/2 frets, all at the ready so if the fiddler says June Apple, I have one tuned to A or which can go to A with the adjustment of only one string. You can't have enough dulcimers.
Hope everyone's New Year is better than you thought it might be!
Thanks, Peter, for the tab. What software did you use to create it?
My Keith Young dulcimer came with a set of his squeakless strings on it. It is an unwound bass string, .024 phosphor bronze. It doesn't have quite the sustain I like, but it sounds good. You can check any of my videos with the Young and see how that sounds.
Classic California teardrop. I can see Neal Hellman playing that one. You lucky dog! LOL
There's a thread on ED that's a "history" of the Capritaurus & Rugg & Jackel you might want to check out.
Rob
Sounds like a great combination of woods there, David. Bet it'll sound like a dream
Patricia, I have enjoyed all the episodes of Hearts of the Dulcimer. I especially enjoyed the new one with Holly Tannen. Thanks a lot.
I use Martin Guitar polish on my dulcimers. Seems to work well.
Dusty, was you possessor of any of the early John Fahey albums?
Just updated the pdf of the tab. Thank you John P for pointing out the error!
Thanks, John P, for the history. I forgot about Jamie MacPherson's song going to the gallows. This one is different. I don't know if Skinner was the author or collector of the tunes he published. At this late date we may never know. Yes, you're right about the 3rd measure, 1st note; should definately be a 5. I'll put up a correction later today.
Thanks, Jim, I appreciate it.
Here's another shorty I've been working on for a little while. Donald MacPherson's Lament is a Scottish Slow Air for the pipes. The tab is in DAA, played from 0 to 7. I'm hoping to add a DAd version in the higher octave. Enjoy. There may be more coming in book form if I can keep up this pace LOL
Robin.... I prefer to re-tune, but sometimes those durn fiddlers want to jump right into a tune in a different key. A capo is the quick way to get there (unless they're going to C lol.)
Here's a mournful little Russian song, requested by Oliver Ogden. It's 2 pages: the first just the melody playing using a capo on 1 in DAd tuning; the 2nd is still in DAd tuning but using chords without a capo, still in E minor. It was a fun song to tab out and will be a great addition to the repertoire.
Wout, I don't think you understood the first part of my response. Fiddlers (especially) play songs in certain keys, they won't play a tune written in the key of A in D. That's where the capo comes in. When you play with other instruments, they are not going to play everything in D. A capo is quick way to get to G or A (with a 6 1/2 fret) on the dulcimer.
And the rocking chair in Ken's picture is the one Jean used when she came to the school. Quite the tableau there!
Wout, use of a capo can be handy when playing with other instruments. Fiddle tunes are played in certain keys. If you ask a fiddler to play Old Joe Clark or June Apple he'll immediately start playing it in the key of A, not D. A capo on 4 is the easy way to get to A, particularly if you're in DAd. Old Black Cat and No Corn on Tygart are in G, so capo on 3 and off you go. Then again, sometimes you just want a different "sound." I took a flamenco guitar master class with Chucales once and we were using a capo. I asked him why, since we weren't accompanying a singer. He said, "so it will sound more flamenco." There you go!
I have to get a new capo myself. I've lost my Ewing and my "Hewn from the Mt." I've noticed the Koch ones and I think they look pretty good. I have to measure a couple of fingerboards to see how many it will fit.
Yes, I had a great roommate for the Homecoming. I had a great one last year, too, but this year's didn't snore! Dusty, Lexie, I hope y'all can make it East some time. Hindman is a great place to be. Robin was telling about her room, Ron had Jean Ritchie's Thomas dulcimer with him. So we saw some special history (as if the museum didn't have enough history for you.)
The folks at Hindman, Ky, outdid themselves; this 2nd festival was better than the 1st one. We registered on Thursday. It was great to see the other presenters/performers again. Don Pedi, Anne MacFie, Randy Wilson & Cari Norris, none of them I'd seen since last year. It was also great to see our fellow members John Knopf, Dan Cox, Ken Longfield, Robin Thompson, and Mike Slone. After a visit with Mike & Doug Naselroad at the Dulcimer Shop (and future School of Luthierie) the festivities began Thursday night in the new Museum of the Mountain Dulcimer in beautiful downtown Hindman. We were treated to a concert by banjo performer/historian/collector George Gibson with one of his students, followed by Bob Young on dulcimer and vocals. After some conversation both at the Artisan Center after the show and at the cabin, we all retired for the evening, anticipating tomorrow's activities.
After a splendid breakfast of biscuits & gravy, eggs and sausage at the Hindman Settlement School we trekked across the campus to the School of Crafts to begin our workshops or man our sales tables. If you are unfamiliar with the Settlement School in Hindman, it has had connections to the dulcimer since its beginning. Uncle Ed Thomas was a visitor there, Josiah Combs was a student, Jethro Amburgey taught, and John D Tignor was a student as well. The 1st workshop I was to teach was "Accompanying your Singing," and I'll have to admit, though, I do it every day, I was a little nervous about this one. I had 7 students to face and as I started the nervousness left, and we had a great time, singing and using different methods to accompany ourselves. I believe they enjoyed it as much as I did.
When it was over, I wandered back across the campus and into town for lunch. After that great refreshment at the Artisan Center Cafe, I went back to the School of Craft to catch a little of Anne MacFie's rhythmic strumming workshop. After trying to teach something at least similar for a while now, I thought a new perspective on how to communicate with the students might be in order and, thank you Anne, got some ideas from you. When I got back to the Settlement School, there was Alan Darveaux sitting at one of the picnic tables outside the May Stone Center playing away. So I did what any fan would do: immediately sat and listened. Hung out 'til supper was over then Randy Wilson, Anne MacFie and I had to get ready to perform. Great concert, tho' my part could have used a little more polish. A little jam on the front porch of the cabin before bed followed.
Saturday morning found me up and at 'em although since my workshop wasn't until the afternoon I hung around the cabin for a bit after breakfast then moseyed over to the dulcimer shop. I got to play some great instruments there (at Doug's request) for folks who were coming in the shop. After lunch it was back to the School of Craft for my workshop on Tunes from the Sacred Harp. Again, small attendance, but because of it we were able to get into the songs and techniques for playing them a little more perhaps than in a bigger class. That night after a fine supper we enjoyed Ron Pen, Cari Norris and Don Pedi in the evening concert. Following that, who'd uv thought it, a jam.
I forgot to mention the seminars: Don Pedi, The Way of the Dulcimer and Ron Pen: Singing Family of the Cumberlands, both of which were excellent presentations.
What more is there to say? Come next year. The setting, the people, the music makes this a great place to come and drink in the atmosphere saturated in dulcimer history. Josh and Jessica of the Artisan Center, Brett at the Settlement School, Mike of the Dulcimer Shop and all the others who have had a part in the festival did an excellent job of making this a great time for all involved. Get yourselves down there, up there, over there next year and be a part of historic Hindman and its dulcimers.
reel de gaspe.pdf - 76KB