Forum Activity for @nathina

How does it compare in with the nut?

Dusty I watched the video by David Beede. He is a fret board resonator believer which affects the soundboard so is probably in agreement with Doug Berch. His plastic card affects the soundboard not the bottom board otherwise there would be no difference, so it seems to prove that the top / fret board is more the resonator than the bottom.

Thanks. The contention that the discussion is having, is that there is nothing resonating from the fret board or the top. All resonance comes from the bottom, as some believe. However, if that were true, I would think concentration would go into the bottom for better sound tone woods, and not the top, plus film piezo's when installed would be placed attached to the bottom and not the top. Obviously the entire unit vibrates, top bottom sides, but the sound board I would think is what makes the difference. Size of the sound box and type of sound tone wood on the top.Doug Berch designs his units with the fretboard in mind, believing the sound transmits from the fret board primarily. Even if so, it would enter the top before the bottom, so no contention. I did play with the pickup on the gibson and found that no quality came (dull) out of the side, or bottom but I found a spot on the sound board beside the bridge and slightly down from the sound hole that was the best. I also ordered another Ksime to use on the McSpadden, as the Schaller was too powerful for the small sound board. It was picking up everything and then some even from the next room. I know there are a lot of theories and each promotes their dulcimer designs the best. It becomes very confusing. I know woods, I know what to expect and what they can do, but my training seems to be put to the test, with unusual theories and ideas that I know cannot be good dynamically or acoustically.

Good luck.

Reading Ron Gibson notes, he believes that the soundboard (top) is the vibrating resonator. Doug Berch believes it is the fret board, which is ok since the fret board will resonate and the top soundboard will pick it. Obviously others believe it is the bottom of the dulcimer that resonates. Yet the supports which I will call stays, are glued to the bottom and I have also read that up to five stays can be used. Those opposed to extra supports say that it dulls the sound. Have I fallen into a can of worms of opposing ideas from different luthiers?

Additionally all the piezos I have seen used are placed either as stick ons on the top, or film under the top and not on the bottom. This is more than confusing.

In the long run, it doesn't matter if the dulcimer plays well. Also of note is that dulcimer maker "production" does change hands. McSpadden I believe is on its third owner and I wonder how often the old documents are reviewed?

A Padded Zipper bag, that fits the Gibson nicely. The only thing is the embroidered label sort. Maybe it is a take on my playing

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The entire dulcimer is odd. Beautifully done, carvings excellent, yet electrified I am sure after the fact. Otherwise the plug could have been drilled properly and replacing it would have matched the back. Or the access could have been drilled from the side and replaced with a preamp volume control.

Checked Clemmer, he had small wheat sheaves, but nothing like this, plus his instruments are much finer. Although this is a beautiful instrument, it is "courser".

True. The added magnetic pickup was after the fact. There is a bore hole in the back and there are screws attaching some piezos I think. There is no knobs, no equalizer, no gain controls or volume. It would require a preamp although with the mag pickup probably a direct amp plugin would also work. It is those wheat sheaves that I am trying to place. I saw them before on  on instruments by a good luthier. Can't remember where. The carving is excellent.

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I am considering purchasing it. It is an electric dulcimer, no sound holes solid wood, not hollow, but the electric part was probably made after the fact. 

I know I have seen those wheat Sheave Design before but can't recall where. This Dulcimer had a magnetic pickup added to it, drilled a small core through the back which was wooden plugged. It is bigger than the case. Any ideas who made it?

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Strap came today. Did it right. The strap fits, no problem.

Ken, I just spoke with Jim Woods today, he is still there it seems. Did find out the age of the McSpadden dulc I bought is 1982 likely made around August or September. Full Walnut, but that's all they had.

Contact Jim Woods at McSpadden, send him the picture of the flat head hanger, tell him your serial number and ask him what he recommends mcspadden@mvtel.net 

This is for a scroll head dulcimer

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This is for the flat head dulcimer.

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I did it. Drum roll please. Worked exactly as planned. Added rubber washers to distribute the torque.

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Tic Toc, Ahaa, Have to do it. Plans drawn, applied, drill set identified. Fate favors the fearless. Be Back in 15 minutes, either happy or ....... Although I am not bad at this.

I have studied the contruction of the McSpadden and hopefully the construction blocks remained the same from the 70's to now. Sounding on the toe indicates a possible space however so I will drill a micro hole into that tomorrow. The neck is solid but I think I might use a slip strap on that if it will feed under the strings. The Scroll head has some spacing differences from the new scrolls. Will check further tomorrow and still may drill it. Have measured, sounded, scoped there is a full block on both ends. Drawing up diagrams now for placement. It is going to be within millimeters, to miss a "stay" or something more solid in the neck, and not overshoot the block on the base, while still accessing the hitch pins. And I am using oval buttons. Now if I only had an xray.

Do you know if the toe block is solid down to the back board? I have enough space to place an oval button there if I drill a micro exploratory hole.

In this older one the hitch pins are near the the bottom, and the this one has a scroll head with the scroll going into the instrument. No block

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While the Rod Gibson is done. Added strap buttons quickly. I haven't decided wither to go horizontal or vertical with the button on the neck. Still have no where to drill on the old McSpadden?

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I am going to add the strap buttons today. No problem on the Gibson, lots of standard space. But the McSpadden, has no room on the pin block and virtually no room on the neck. Where should I install them on the McSpadden?

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Changed the string out. Noticed it wasn't a .014. looked closer to .008 or so was really fine. Now have the A3 on the middle. Checked the Octaves. Everything now where it should be.

And here is the McSpadden fixed and ready to go. Brand new condition. Tuners hold now excellently. Scroll top, Entirely walnut and pre 1980 horseshoe brand. Now to add a piezo and some end strap buttons. Still out for debate is whether the nut and bridge are linen marcite, or bone or possibly ivory. Unlikely Ivory, but the yellowing is not consistent which may indicate bone. I am betting on linen marcite, definitely not canvas marcite. Will find out more from Mcspadden hopefully. The handles on the tuner are wood. Picked it up cheap, got lucky.

[edit, added by Admin] Nathina added:
Spoke with Jim Woods, the McSapadden was made near the end of Spring/Summer/Fall of 1982. Full Walnut top sides and back. Micarta nut and bridge, apparently linen micarta as I can see the layers. Added the strap buttons just missing an insert by mm (as planned), and everything is a go.

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Thanks

You have a Black mountain Jumbo Dulcimer. A good product and Dave is a good luthier. Your sound board is spruce which tends to have a higher sound than red cedar which is more rich. The use of his term "Jumbo" simply is a name used to identify this model. Enjoy it. I love the scroll head.

That is a beautiful dulcimer. He is a good luthier. You ordered the spruce soundboard, and they are brighter than red cedar as he states. As for Jumbo, that is simply a statement in reference to other models. 

So the middle string will be below the melody strings. I will have to lower the middle string back to A3.

Are those screws or lynch pins on the end?

Now I am really confused? Anyways the bass will be D3, the Middle A4, the two melody strings D4.  using C4 as middle C.

So in all I got two well made dulcimers in new condition, teardrop and hourglass, for less than the price of one. I got lucky.Now I have to find some interesting music to play.

Looks Like a got the listing backwards. it will Be Bass to Melody DAdd. Right? Thanks

With the brightness mentioned and the measurements, I wonder if I guess it was a Roosebeck if I would be right?

I suspect your "brightness" is due to wood, and not to measurements.

If I new who your luthier is I could comment better. If is one guy, I expect everything to be exact. If it a "factory operation" where several "luthiers" could sign, I have not generally been pleased. I have seen major differences in quality where there should be none. They were all good quality, but some were better than others in matching wood, lengths and fittings. Then there are the factory operations where the head and main assistant make top line dulcimers to specs, and student apprentices make mistakes. These are generally sold at reduced prices but still under the name of main Luthier. I don't think they expect anyone to measure, but I have seen offsets in tuning key positions, and lynch pin positions. Like you, I would expect to get consistency. This occurs in all "hand made" instruments. If you want I can tell you about woods and give you hints about buying hand made acoustical instruments. I spent a lot of time looking for my large hammered dulcimer, and I am very pleased at the result. I spent time studying mountain dulc, and found some phenomenal bargains is used instruments that were actually new made by excellent luthiers.

Already fixed thanks. He was using spring washers, which after 40 years, lost their tension. I suspect it was stored for 40 years wound tight. 4 split washers and everything is great. What is impressive is that the wood is as new as when it was made. Nothing to indicate age except maybe darkening. I was thinking of changing them to 1:14 gear type but decided to keep the esthetics. The tuner ends are mahogany.

36" length is the same as my Ron Gibson Barbra Ellen Teardrop. Sound Box depth is 2 7/8 not including fret board and widest is 7 3/8. My McSpadden is 35 3/8 long, width is 6 5/8 depth 1 3/8. As you can see they range widely. The Gibson has excellent sound with a Catalpa Wood Top and sycamore sides and back, not sure yet on the McSpadden as I just got it new (used). Had to do some minor repair on the tuners but just like new, not a scratch. The sound of this is also excellent and the sound box is half that of the teardrop. It really depends on the wood used.