Hey folks, I've heard it said that having two speakers of the same power directly next to each other is not perceivably louder than one. They are exciting the same air with the same level of energy, so the second speaker basically does nothing.

I was wondering if a similar thing applies to doubled melody strings. If both strings are at the same tension, channeling vibration into the same place on the bridge, is the second string not actually adding any volume? It can be really hard to tell by listening, since a second string changes the tone. It definitely 'feels' louder, but ears are very easy to trick.

Thanks for any info

Nate

The tiple is a fascinating instrument, albeit less common compared to the mandolin-uke. Both instruments produce delightful sounds that add unique textures to music. It's always a pleasure to explore different stringed instruments and appreciate the richness they bring to music.

@robin-thompson - thank you for posting Kim's lovely description of her times with Larkin Bryant. So nice to read it.  

@jon-w-harris , that's such a cool story of how Russ Green inspired you to start building dulcimers in the mid '90s.

Hi Lilley, as SteveC posted in your other thread on this subject, it seems Gary is no longer building dulcimers.

So many fascinating historical facts in this discussion- I have enjoyed it so much and just want to thank everyone for their cool posts!

@ken-hulme - I believe it's fine when people add to discussions that are from years ago. This thread is only two years old. I always encourage folks here to use the Search function, which by its very nature pulls up older references to subjects that are of interest to them or to others. I never fail to learn new things from reading older threads that have resurfaced, and i enjoy when they are revived. Unless there's a real problem about it, here is no need to fingerwag about how old a discussion is- people always figure this out on their own. But thanks for your concern!  😉

@ken-hulme - I believe it's fine when people add to discussions that are from years ago. Many folks here use the Search function, which will pull up older references to subjects that are of interest to them or to others. I never fail to learn new things from reading older threads that have resurfaced! There is no real need to point out how old a discussion is, people always figure this out on their own. But thanks for your concern.  😉

@shannonmilan -- you do realize that this conversation is over four years old, don't you?

@shannonmilan -- you do realize this conversation is over two years old, don't you.

While I'm not familiar with Mike Clemmer making a specific hourglass instrument like yours, the features you described—wooden pegs, a 5-string configuration, walnut construction, and wheat head engravings on the scroll—suggest it's a finely crafted piece.

Hi all. does anyone know if Gary Gallier still alive? OK just teasing but really I have emailed him a few times and I get no response.  Has he gone into hiding or something.

It sounds like you're describing a finely crafted dulcimer with unique features. The elegant headstock, heart-shaped soundholes, and mahogany neck contribute to its distinctive appearance. Modifications have been made to improve intonation, such as replacing the nut and bridge for conventional spacing. The innovative removable pin at the bottom end adds to its functionality. Overall, it appears to be a quality instrument with some special touches.

I still miss Larkin.  She was a staple in many of larger dulcimer festivals and her classes were warm and helpful.  My copy of her book, which was part of my first dulcimer purchase, usually went with me to festivals.  While at the Memphis festival in 1996 she signed my copy which has made it more valuable to me.

I met Russ at a local event in 1995 or 1996.  I had obtained my first dulcimer from the Flat Creek dulcimer shop in Hardy, Arkansas and was looking for an instrument for my wife.  He did not have a dulcimer with him to meet the need so I made an appointment to meet with him at his shop.  We spent 2 or 3 hours with him selecting a dulcimer and he offered to give me a tour of the shop.  Russ and his wife were gracious hosts.  I left with enough information and inspiration to start building dulcimers.  We looked forward to seeing them at local vending events.  His fretboards were a little narrow for me but Russ had no problem with it and his fingers were about 1.5 times the width of mine.

Thankee kindly, friends!  The new owner is one of our members here.  Hope she loves it!

Nice looking Melton Style Galax John. I am sure the new owner will be well pleased.

That is a truly drool worthy Galax dulcimer!  I love my all-cherry Galax. Cherry sounds good and is a nice choice. The new owner should be tickled pink!  

Three cheers for the new owner! That person is receiving a beautiful instrument.

Ken

"The dulcimer sings a sweet song."

It's a beauty, John, and Ohio is a nice place for that Galax.  

This is a new Galax dulcimer I finished yesterday.  It's mostly cherry, with a spruce top and mahogany "inner back".  It's made like Raymond Melton of southwestern Virginia used to make them.  The new owner lives in Ohio.

I'm afraid that I can shed no light on Russ Green. But I recently acquired one of his dulcimers. I agree with your assessment. Really, a high quality build, quite lovely to behold, and sounds even better.

Thanks for sharing that article, Ken.  What a great way to honor Rob's life! 

I use a Myers Pickup, which is a microphone not a pickup. It connects to the instrument in a variety of ways. I use the long carpenter clamp. Specify "long" as the standard will not likely wrap around the instrument. I put the tiny mic inside the f hole, so, yes, it will pick up vibrations from the box, but I could just hover it over the strings. It has it's own little volume control, but doesn't like phantom power.

@marsha-elliott I went in the opposite direction. I started with the bodhrán almost 20 years ago and sat out the slow airs and laments. Two years ago I was given my first dulcimer, and I am almost ready to take it to sessions. It is a good combination, as the dulcimer gets lost in the fast tunes, and people who try playing the bodhrán over the airs and laments are the ones who give it the bad reputation it has. Drum On!

Hi Nate,

You describe a common problem. And different string makers use different core diameters (and some use hexagonal core wire, so it bites into the winding for improved performance. And I too sometimes find that in a tuning such as DDAd I have to compensate the A string at the nut. Curiously, this is not on every instrument.

And I find that choosing string sets that operate at equal/similar tensions minimizes compensation of the saddle, as well as producing brilliance in each string that is in a similar 'brilliance envelope', so that playing a scale across all the strings does not sound different from playing the same scale on a single string.

I have a spreadsheet that computes string tension for sets of strings, given their operating pitch, string diameter and whether plain or wound. It turns out that the the fudge factor "k" needed to compute the tension of wound strings is very similar for most of the strings I've encountered (GHS, DR, etc.), so an average can be used for a given manufacturers' strings.

PM me if you'd like me to email the spreadsheet. Requires MS Excel. At present I can only supply it in Mac 64-bit word (Catalina OS and higher), but soon will have it available in the more widely used 32-bit word version. Either one should work in a PC Windows environment also...

Hey folks I was hoping to get some clarification about how string gauge affects intonation. I have noticed that an unwound middle string needs to be compensated about 1/16th of an inch longer than a wound middle string. If I don't compensate the middle slot differently than the others, it can often be up to 15 cents sharp at the octave, when properly tuned.
I remember hearing in passing a long time ago that wound strings need to be intonated to compensate for their core diameter and not their wound diameter. Can anyone verify this?

And if so, does anyone know what size core corresponds to certain gauges of wound string? For example, what is the core gauge of a .18 and a .24 string that are wound? Maybe I can use the digital calipers at my work and measure some cores.

I have noticed that in order to correctly compensate for my middle strings, the bridge needs to be shaped differently depending on whether the string is wound or not. Is this a common issue? and is there a better solution than just having two separate bridges with the two different compensations?

Thanks for any info, and sorry if the questions aren't asked very clearly,

Nate

You could ask the builder and try the dulcimer out. 

As for price, I would suggest you play the instrument, ask the builder what it costs, and decide for yourself if it is worth it. If you are a beginner, it is important to get some basic matters clear about what makes a good music instrument.

I have a buyer's guide on my website at https://www.bearmeadow.com/models/ordering/html/buying.html

Hope that helps

I'll check out the Wittner violin pegs and consider the measurements you provided. Ensuring proper contact points and alignment across the bridge is key. I wonder what other parts are cross compatible to violins.

Thanks Ken for pointing us to that article about the jam honoring Rob.  @jim-fawcett , i like what you had to say in the article. I also liked the description of Rob as so much more than a musician, but also as a 'community builder'.

I've seen a fairly basic walnut teardrop dulcimer for sale locally, but can't seem to find much about these instruments except what is on the builder's website. Can someone please give me a general opinion about how these compare to other makers and what the range of selling prices might be (either new or used).

I'd appreciate some input. Thanks.

 pawpaw.jpg - 159KB

Thank you for sharing this cool video from '73, @ken-longfield !  I really like Mr. Nicholas's dulcimers and it was really something to see the other folks making creations of some type or another.

Thanks for the tag, @dusty -- except for brief times away at grad school, I've spent all my life in O-H-I-O.   

FYI: https://bnnbreaking.com/world/us/fairmont-state-university-honors-robert-lackeys-legacy-with-memorial-jam

Ken

"The dulcimer sings a sweet song."

Thanks for sharing this, Ken.  I want to make sure our Ohio patriot, @robin-thompson sees it.

In another dulcimer site a member shared a link to a video about folklife in Ohio. It was produced by Ohio Bell and does show some dulcimer information. Ralph Rinzler from the Smithsonian Institution is the narrator. Besides my interest in the mountain dulcimer, I am interested in many aspects of folklife and suspect others here are too. Simple Gifts Enjoy!

Today, it's the first Saturday in March.  The last Saturday in March will be International Appalachian Dulcimer Day.  

Looking at the picture of the head which shows the pegs, I would say they were installed poorly and the strings are incorrectly installed, both in terms of the sloppy winding and on the wrong pegs.They also appear to be unevenly spaced.

Some of the holes are too big, as evidenced by the amount of peg extending through the hole and some may be too small, The pegs also look too short to me. They may be drilled in the wrong place.

Some of the string leads are incorrect. They should pull the peg into the hole, not out of it.

See the photos toward the end of 

The Best Way to Change Violin Strings [9 Simple Steps]

https://violinspiration.com/how-to-change-violin-strings/

I think a complete refit of the pegs is in order, perhaps substituting larger viola pegs for violin pegs.

Using geared violin tuners like Wittners might be worth considering for your violin, especially if you prefer not to widen the peg holes. Keeping the Sam Carroll with its original pegs is also an option. You could use wood filler for the stripped hole to ensure a secure fit for the replacement pin.

Thanks for the input Nate.

The bridge is actually set into the fretboard in the traditional way. It looks like it has feet because it is wider than  the fretboard. But it is loose enough to shift if the strings didn't come in square and it was notched. Based on that, I think I will leave it alone and install a new spacer bar using standard bridge material. 

I expect I will play it with a single melody string as I do with my current unit, but I was wondering if I could run a double melody through the same hole in the tail. At this point I have no interest in 4 string equidistant.