Sources: strings in bulk
General mountain dulcimer or music discussions
Thought I saw Uncle Eddie on the road.....
Thought I saw Uncle Eddie on the road.....
My father spent his teen years growing up in the Polish underground, fighting both Nazis and Communists... I think we could solve our energy & air conditioning problems if we could somehow harness the energy from his spinning over in his grave over current events.....
To him, (and myself) America has ALWAYS been the greatest nation on the planet. Let us endeavor to keep her such.
I was able to make a string set for a "mizrabli tambur' , a very long Turkish instrument. String lengths over 65 inches. And don't get me started on the hours of "patience practice" re stringing bowed psalteries and hammered dulcimers....
A spool does last awhile, but the cost and convenience of not having to buy new each time, and seemingly always having to re order gives some solace.
Having done hundreds of refresh, rehab, and restorations... it only made sense to make my own. Buying in bulk spools, and hand twisting loops. Nice company and good service.
For instruments that I build from scratch, shellac/oil/alcohol mix til it seems "right". Varies with wood.
MOST of the older restoration work seems to be primarily shellac, some variants of amber/clear, oils, or not exactly sure...
I also see plenty of BAD and very poorly done polyurethane finishes, short of sanding and/or stripping all the way to bare wood [ I'll do that for a really nicely made one], most I'll just roughen and re coat with poly to fill scratches and refresh. If I had to guess, most of these came out of the "revival" ? Lots of heart, but not much skill or coins.....
Shellac is SO forgiving, It mixes and matches to other shellacs, blends to itself, and allows for forgiveness...
Don't know if this link will help in your quest.
To bring this thread full circle....Tony Strad had the right Idea calling his instrument the "Violin" the word flows off the tongue with the feeling of an aria....
"SCHEITHOLT" Sounds as if your ancestry has just been maligned.....or you should hand the speaker a kleenex....
Is there such a thing as Scheitholt acquisition syndrome...
I thinketh not.
LAST CHANCE....For a FREE Hammered Dulcimer ! Must be picked up before end of day Friday! Or it's off to the burn pile...
No charge to anyone who would like it, and can pick up in the Toledo, Ohio / Oregon, Ohio area
You will have to let us know
how you are going to convince
her to move into the addition, so you
have more dulcimer space.....
I think I just realized why some
pronounce it " dul- ci- MORE"...
"My only dulcimer, SO FAR....."
Therein lies the first symptom of the affliction...
Long story short...ish.
I purchased this hammered dulcimer
off of the Good Will auction site.
Intending for a friend in Ohio to
pick it up for me....Alas, too late
I realized
I don't have any friends in Ohio......
I only paid a mere pittance for it,
and it is "as is"...
Free to first come, first served...
Needs to be picked up in
Oregon, Ohio
Next week. 5/26-29.
Message me for details and
scheduling pick up
The handful or so of the violins Tony built, have been so far removed acoustically from the original build that we may never know what they sounded like as he intended. Polished, re polished, cracks and cleats added and necks modified over the centuries... And even today, in blind comparisons, expert musicians can only discern them from modern fine violins about 50% of the time. But yet the "value" remains....
I think it is due more to the history being held in ones hands, THIS is one of the few HE made, etc. On a smaller scale our dulcimers carry the same value system. One of Joni Mitchells dulcimers would surely sell for more based on its history, not the sound. Likewise, an $11.00 Hughes kit dulcimer, goes for more when the builder inscribes " To my Darling Laura-1973" ...
I would [almost-still thinking on this] encourage players to add to their stories. a simple note inside that "factory" dulcimer that says "bought on our trip to Branson....Bill and Kate Jones 1996" or" played with the Sandusky Strings" adds value to whatever the instrument brings on its own. It may seem a little hokey now, but imagine the same sort of writing on an instrument 100 plus years old. We are all in line...and the line keeps moving...
I know many of you have the DAS, and as such, probably have several instruments that perhaps have no makers mark. They are a prime place to start. Help give them an identity, if only to help someone in the future. "Barn find/2023/Virginia".
One of the finest violins I've had the pleasure to restore, had to have little patches made to cover where the drywall screws held it to a restaurants' wall.
'
Here is a link to the Mountain Dulcimer Society group in Cleveland....It's a private facebook group, so you have to join it....hope it helps in your quest...
Thank you Dana...Very sweet...A nice soul stirring tribute, we're all in line, and the line keeps moving....
I've been rehabbing and re homing instruments for years to kids and families...only in these last few years doing it as a way to lose money faster by opening an ETSY shop and going to dulcimer/folk festivals....
Most of what I aquire come from resale shops, garage sales, or the broken relics from the closets of dead hippies...
I've yet to find a dulcimer that doesn't have a sweet voice. Some sweeter than others, yes. I wonder if Stradivari would have used cardboard, birch plywood and titebond if he had them available, instead of scraping chunks of maple down to 3mm with his hands.... Then using machine tuners instead of sharpened sticks.
I really wish these old instruments could talk, I'd love to hear their tales. To see what the builder was thinking (or why?)
Oops
Truly do appreciate your comments....I agree those mechanical pegs are nice...but at over a hundred bucks a pop...
Well that's not gonna happen.
Thank you one and all.
Need to pick some brains, get some opinions...
Seems I get quite a few older, 70's 80's era instruments that are quite nicely put together, except for the fact that they have wood pegs for tuners. I appreciate the craftsmanship, and history, but if no one will buy them, they are relegated to be discounted wall hangers. Most players that visit my booth at shows distain pegs, in part due to older hands....
Sawing off the pegs (as plugs for the holes) and installing machine tuners seems the way to go.
But I don't want to "cut up" history either.....
What say you all???
Not sure if this helps?.....the quest continues....
"You can use a straightened out paper clip for the extra fret if you don't have one. Back in the stone age, before I had 6 1/2 and 1 1/2 frets I used to use a paper clip which I attached with rubber cement so I could come off easily."
This simple statement sums up SO very well, what being a Friend of the Mountain Dulcimer is all about!
Thank you
I've made quite a few noters for "special needs" hands...Instead of the usual 3/8 diameter, using thicker and sometimes longer noters help a lot. I have some customers that have found a great help by sizing up to 7/16, and some that are even using 1/2 inch diameters. Varied lengths as well to help in the holding and leverage. A thumb/ finger notch is also an added help.
The thicker noters can be a bit more tricky as you go down the fret board, but the trade off of being ABLE to play seems to be worth it...
...and the nearer to the end of the roll, we learn to treasure each sheet that much more....
God be with you, my friend.
There is sorrow enough in the natural way
From men and women to fill our day;
And when we are certain of sorrow in store,
Why do we always arrange for more?
Brothers and sisters, I bid you beware
Of giving your heart to a dog to tear.
Buy a pup and your money will buy
Love unflinching that cannot lie
Perfect passion and worship fed
By a kick in the ribs or a pat on the head.
Nevertheless it is hardly fair
To risk your heart for a dog to tear.
When the fourteen years which Nature permits
Are closing in asthma, or tumour, or fits,
And the vet's unspoken prescription runs
To lethal chambers or loaded guns,
Then you will find–it's your own affair–
But ... you've given your heart to a dog to tear.
When the body that lived at your single will,
With its whimper of welcome, is stilled (how still!),
When the spirit that answered your every mood
Is gone–wherever it goes–for good,
You will discover how much you care,
And will give your heart to a dog to tear!
We've sorrow enough in the natural way,
When it comes to burying Christian clay.
Our loves are not given, but only lent,
At compound interest of cent per cent,
Though it is not always the case, I believe,
That the longer we've kept 'em, the more do we grieve;
For, when debts are payable, right or wrong,
A short-time loan is as bad as a long–
So why in–Heaven (before we are there)
Should we give our hearts to a dog to tear?
Amazing how it got so scorched, and without touching the case! Just kidding. I hope all are doing well since the fire.
I don't know of any luthiers near Nashville, but I'm sure there are many. As for the cost, well that could get "interesting"...Depending on what you are looking for. Fully restored to like new, will cost you probably much more than it is worth. Returning it to functionality, with all its scars and stories intact will be much more affordable. It "looks" as though the scorching may not go thoroughly through the entire depth of the woods, so other than some thinness in places, and a bit of stabilization, things should work out well.
It looks as though you are correct about the head/glue joint. The heat and string tension made it lose it's mind....Personally, I love instruments that tell a story, give a glimpse into the history. Makes the songs that much sweeter. Just wait till you play Johnny Cash "Ring of fire".......epic!
Amazing how a little movement takes it from fire wood grade to fine......
My 2 cents....
The "fixed" requires additional work on the builder, slot needs to be cut, insert needs to be correct width and height. And there is little to no forgiveness if you cut the slot in slightly the wrong spot. Once in place [correctly] there is almost no need to ever adjust in the life of the player...
"Floating" is much easier to source, and manufacture. Asks nothing more than to be a "chunk" of material, with an apex to support the strings. Easy to carve, sand, or reposition to adjust for string height and intonation. Widely adjustable... getting out of adjustment... just as easy.
The floating style is by far the "old" school of the two. When used on an un-fretted, or violin style instrument, it doesn't hamper intonation with placement. No frets, so the players fingers are selecting where on the string is the correct sound. Add a fret or two, and now the intonation is "fixed" by the placement of them and the bridge.
Many players I know have NO IDEA that moving a [moveable] bridge will change everything. They simply think that each note is a result of each fret. It helps me look SO good when I make their "off" sounding instrument sound sweet again...
The link didn't seem to cooperate....here is a copy from the site...
Late 1960's, early 1970s, in northern California...
1968 - Howard Rugg made his first dulcimer in Felton, California.
1969 - Brothers Howard Rugg and Michael Rugg become partners. Mike came up with the CapriTaurus name: Capri (Howard) with Taurus (Michael). The first CapriTaurus dulcimer had a walnut body, a spruce top, and a carved gargoyle peghead.
During these early years, Howard built the instruments, Michael did the branding of the instruments, sold the instruments, performed at fairs, carved scroll heads, and played the instrument expertly.
Steve Jackel worked for Michael and Howard starting in 1973 (working for CapriTaurus), and he became a third partner some time in the early 1970's.
The new partnership became known as Rugg, Rugg & Jackel. RR & J then created the first FolkRoots-branded dulcimer, which was based on the original CapriTaurus plywood dulcimer. The FolkRoots line was sold wholesale to music stores.
Early 1970's, in northern Vermont...
1974 - Folkcraft Instruments was founded by David Marks in Lyndon, Vermont. David was a music supervisor in the Lyndon schools, and with his finely-tuned ear, he took the dulcimer's state-of-the-art from "okay" to "amazing". Few makers at this point were making instruments that played in tune, or had a good action. David's demanding ears took Folkcraft to the top of the pack, quality-wise. The company became known for high-quality dulcimers, and before long, David was looking for a larger facility for Folkcraft Instruments.
Back to California...
1976 - Rugg, Rugg & Jackel broke up the partnership. Steve Jackel and Howard Rugg formed a new partnership, called Rugg & Jackel. The old partnership had two "Ruggs" in the name, the new partnership reflected Michael Rugg working independently from Howard and Steve.
The Rugg & Jackel company kept the FolkRoots line, and Michael Rugg retained control of the CapriTaurus name and line of solid wood dulcimers.
And now back to Vermont...
1979 - After only a few years in Vermont, the company was so successful that David moved Folkcraft to a larger building. Folkcraft moved to Winsted, Connecticut, where it stayed until January of 2007. While in Connecticut, David Marks took the company from a one-person operation to a large (for folk instruments) national presence, with an active mail-order operation, multiple showrooms, and a store at Disneyworld.
And in Connecticut...
1989 - Howard Rugg and Steve Jackel decide to retire from dulcimer building, and they sell the FolkRoots line of dulcimers to Folkcraft Instruments. The tools, wood, and inventory are trucked from Felton, California to Winsted, Connecticut.
Now to Indiana...
In 1990, Richard Ash (the current owner of Folkcraft Instruments, which now includes FolkRoots dulcimers) retired from teaching music in the public schools, and went into business by starting up a music store in the small town of Woodburn, Indiana. The main focus was private instruction, but with a roster of active teachers, the company soon expanded to include sheet music and accessory items.
By 2005, it was time to expand, and Richard began looking for something new. He found out that David Marks was retiring from (over thirty years!) dulcimer building. The fall of 2006 took Richard from Woodburn, Indiana to Winsted, Connecticut. Richard fell in love with the company, and with the instruments, and ended up purchasing Folkcraft Instruments from David Marks.
On January 5, 2007, the paperwork was completed, and the move from Connecticut to Indiana was begun. Seven semi trucks (six enclosed, and one flat bed), a whole lot of labor, and a bit of luck took all of the tools, instruments, lumber, and work in progress to Folkcraft's new home in Woodburn, Indiana.
In 2009, Richard Ash (with his brother, Steve Ash) created the Druid Moon line of ukuleles. The new designs of ukulele feature a heavier construction than is common with contemporary ukuleles, and this gave the instruments more sustain and more warmth, making them very popular with fingerstyle ukulele players.
Folkcraft Instruments now has three main product lines - Folkcraft Instruments (mountain dulcimers, hammered dulcimers, psalteries, and kanteles), Druid Moon (ukuleles), and FolkRoots (dulcimers).
https://folkcraft.com/pages/folkcraft-through-the-years FolkRoots History....
This "may" help?? The wood kits start at about $400, The complete new ones start at about $1100, and go up to 2000 ish for the "fancy" stuff...
The lower end of yours I {a great deal, if you want to Bless someone] would be $250 ish, You can probably find a buyer in the $300-$450 range if the goal is profit.
Dulcimer pricing can go all over the map. Unless it is significant in design, woods, or maker, they generally don't hold value too well. Sad but true. Unlike guitars, folks generally don't want an "old" dulcimer...too few frets, pegs, or it doesn't have a label, or other bragging rights. I've seen plenty of awfully sweet sounding instruments that wouldn't command $50 at a garage sale...
I bid $351............
Just kidding....Nice price, looks pristine too! congratulations!
Sorry....couldn't help myself....
Sending a "long vsl" chart borrowed from Folkcraft...31 3/8 VSL. Is this what you envision? It would take some time to do the math on string gauge etc....To think of what that length looks like, picture a Pete Seger long neck banjo. All you have to do is remove the resonator and slap the remains on an hourglass body....voila!
This other fella on FOTMD may be able to help....looks like he builds some big honkin' dulcimores....
Kinda like coffee me thinks... Sometimes bold with hints of chocolate or cinnamon....Or bland without any flavor.. All subject to the ear of the listener. Perhaps sometimes so many flavors it just tastes "off"...
I don't think I've heard a dulcimer yet, that didn't sound sweet.....
So the term "overtone" as it relates to dulcimers, just means perhaps you're thinking too much......Or you're building one out of an old toaster and a bundt pan .....
12's / about 13.8 lbs each [d-4]
14 / about 10.5 lbs [A3]
.024 / 14.7 lbs [D3]
Hello Misty,
If you are who I think you are......?
Your dulcimer is currently strung with 2- .012's [d]
1- .014 [A] and 1- .024 [D].
Gave it a quick look.....Sounds Amazing.....Group jam session without the guilt! We'll have to give it a go, [me n' the Mrs]
Thanks for the tip!
https://www.facebook.com/groups/448674886231259
This is the link and contact information for the Central Florida dulcimer Folks...They hold a fest North East of Orlando each year in the spring time. They have well over 700 members...I'm sure they can help direct you. A few of my recent customers were from "the Villages", but I looked and they would be quite a trip for you. Keep turning over the rocks....you are sure to find a player or two nearby.....
But....but.....then it wouldn't be a dulcimer.....[or would it?] ..ahh, the circle continues....
no need for replies...just kill'n time between mowing in the heat...