Forum Activity for @virginia-oman

Nancy

Many thanks. When you say your "smaller one" can you give me the VSL of what your smaller one is? I have a 25 inch VSL so that's why I'm curious.

okay ...thanks for the responses so far...Do you recommend nickle versus steel? phosphor bronze, etc... why and why not? I'm sure many of you have experimented with different kinds.....what have you found to be the difference?n Thanks

What John said!

YMMV = Your Mileage May Vary....

I wouldn't worry too much about the MAKE of strings. There are remarkably few string making factories in the world and they generally make strings for a variety of different brands. You've been given some good advice so far, and you won't go far wrong if you bear in mind what Ken and folkfan have said. After a while you'll get to know your own preferences.

Lots of players would disagree, but personally I've never been keen on 'squeakless' strings. They sound a little bit lifeless to me, and I'm happy to accept a bit of squeak from wound strings (within reason) as part of the sound and verve of the instrument.

Unlike Ken, I do hear a difference between bronze and nickel wound strings, with bronze wound giving a slightly warmer sound - which may or may not be what you want!

If you're a chord-melody player and have problems with squeaky bass strings I would suggest a "flat wound" or squeakless bass. Some folks claim to hear a difference between phosphor bronze, steel, nickel plated steel.... I sure don't. YMMV

If you do get individual strings, be sure to know whether or not you need ball end or loop. Ball ends are more common, at least that's what I've found. All my dulcimers will take both so I'm lucky. Some dulcimer will take only ball ends and others will take only loop as the ball won't fit over the peg or nails used on the tail block. If you're in the loop only situation a ball end can be adapted for the peg by looping the end through the ball forming a loop.

Just Strings carries loop end steel bulk from .008 to .018 in the unwound and the thicker strings in the wound. It also carries several brands of packaged dulcimer sets.

http://www.juststrings.com/dulcimer.html I think the Martin set is $1.98.

If you just get generic guitar strings you may not be happy. Guitar strings are generally not in the same gauge range as dulcimers, to start with.

First know that there is no such thing as "guitar strings" or "dulcimer strings. There are just strings, made by a handful of manufacturers for several labels.

Many acoustic music shops carry sets of strings assembled for dulcimers under names like D'Arco, D'Addario, Martin and GHS. Some sets are labelled Mixolydian or Ionian. Any of those sets will be more than adequate for your dulcimer.

Virginia,

I'm not sure about which strings are best. However since I've a number of dulcimers to restring regularly, I buy in bulk in a range of gauges from Just Strings. That way I always have strings on hand for mountain dulcimers, a pluck psaltery, and a small hammered dulcimer. I've always found the strings to be satisfactory.

Obviously this is a subjective call, but ...just a with any other stringed instrument there are strings that at poor, then fair, then better ones, then even better ones. Its time for me to put new strings on my Cripple Creek mountain dulcimer (3 string) and I'm asking for opinions of what make and kind of string people like most. Am I correct in assuming I go to a music store and ask for 3 guitar stings in my designated gauge? But what make is good? I play in DAD mostly and I'm looking for a good make of string that will give me a bright sound with good volume. What make of stings do you like best?

Thanks much.

Whew! Thanks for the second picture. I though my eyes were playing tricks on me, but ya never can tell. You definitely want a wound bass string on this instrument. And as Howard has said, a 26 gauge bronze wound, if you can find it. The way that notch is cut a thinner string will sit farther down in the notch, and thus closer to the fret, and simply changing up to the 26 wound may hopefully solve the problem.

Mike, mine is a cousin just a few months old (Indiana FolkRoots)...I love it though!

Mike Anderson said:

Hopefully this is a better shot. Of course without a ref to another Cap I cant tell. I think John Keane has one but my not be the same. I didnt try a string yet as I dont know whether to get wound or straight.

Did you put a strightedge on the frets and check for level ? Origional strings were .09 .09 .013 .026 bronze wound.

Looking at the photo above it appears as if someone has replaced the nut with a piece of material tapering the wrong way. Normally the high and square side would be towards the body and then taper away towards the tuners. Also, that piece of black "nut" does not appear to be glued down or shaped properly -- like it's a replacement. I've never seen a nut shaped like an inverted L, extending aft of the nut slot, almost floating, onto the surface of the fretboard. Nuts are normally parallel sided with the top edge angles towards the tuner. Can you get a another picture please -- from the side as well as the top. The one side photo in your other post that shows the nut is too dark to see detail. I suspect you'll want to completely replace the nut. It seems awfully 'kludgy' for something the Ruggs built.

Does it buzz if you go back to three 12gauge strings? Not all dulcimers were designed to use wound bass strings. Is this an Applecreek or First Act dulcimer by any chance? Those two "off shore" brands are notoriously poor construction. What is the string height at fret 1 and fret 7? Is it only buzzing on an open strum, or buzzing at a particular fret?

Faults fret????? Do you mean false fret? Is it the fret itself that's buzzing?

Hi all,

I just wanted to post back with the resolution and thank you all - I just restrung the dulcimer going "up one" with each string. No more buzz and dulcimer sounds a little fuller also. So thank you again. I really appreciate you taking the time to help me out.

Kind regards,

Brian

Hello all. Thank you for your replies, I definitely appreciate you taking the time.

Tom - I will definitely search also. (Apologies for not thinking to do it first.)

John - "technical" might have been the word wrong choice. I am a scientist by training, and I like detailed technical things. My real issue is I don't have the *practical* skills to work with wood or build an instrument, so I have much respect for you guys who can actually create a beautiful musical instrument from scratch. I imagine it must be an incredibly satisfying thing to do.

One thing right off the bat that seems counterintuitive is why going to a heavier string would help. It would seem to me that by going with a thicker string, you'd *increase* the likelihood of buzzing because there is simply more string available to hit a fret and as a result. (And wouldn't a thicker string need more room to vibrate also, compounding the problem?) Obviously, I'm wrong about this, and I don't doubt you all for one minute; I just don't understand *why* I'm wrong, exactly. I definitely have some research to do. :)

Thank you all again. I will try what you've suggested. If I still can't get rid of this buzz, I'll follow Ken's suggestion.

See my solution is the simplest of all. Stop fretting the bass string.

Become a Noter & Drone or Melody-Drone player and fret only the melody string(s)

That Bobby types much faster than I do, sorry for repeating what has already been said.

John

Hello Brian, I think that I remember you saying that you were not particularly 'technical' but a reasonably low tech experiment you might consider is to slacken all the strings (assuming the bridge to be in a slot?) and see if you are able to lift the bass side of the bridge sufficient to be able to insert some small thickness of packing beneath that side only, cigarette paper thickness for example, maybe in increments, before re-tightening the strings to pitch. If nothing else it may indicate the degree of the problem, and perhaps save you having to send the instrument off. You could also try taking the gauge of that bass string 'up one', as Tom has suggested.

On the other hand you could just drop in at my place and we could look at it together and make a decision.............!

John

If you search this site for the term "buzz," you will find a lot of information.

I had a similar problem, and a friend was able to fix it in just a few minutes. The buzz is coming probably from a fret or two higher than the second. Get down to eye level looking across the fretboard and pluck that string, and you may be able to spot the culprit. If it isn't one fret that is lifted, then the action may be a little low, or you may need a heavier string.

Hello all. I am appealing to the collective wisdom of the talented and friendly dulcimer makers in the group. One of my dulcimers has an annoying buzz at the 2nd fret, but only when fretting the bass string. I know it's not my fretting technique that is causing the buzz. I would very much like to get rid of it (the buzz, not the dulcimer). Are there any things I can do to try to fix this (and is there a logical order of things to try), or must I send it off somewhere for repair?

Thanks in advance to anyone who takes the time to reply or try to help.

Kind regards,

Brian

I haven't joined any jams for some of the reasons that have been shared here. Plus, I don't know of any local dulcimer groups. If there are any, they have a secret password or something. A couple places in my area have Irish sessions and there's an old time group, but I need to just go listen and see what I think. My husband took up banjo (but put it down about a year ago due to schedule overload) and I've thought it would be fun to try to play together. He hasn't had the same enthusiasm. Playing a musical instrument is something he never, ever did until he took it up about five years ago, so he just doesn't feel comfortable with the notion.

I'm sorry to hear Thanna ran into that kind of attitude. When I had my short lived time with the gospel group at church, they were sort of that way, too. In fact, though I was "the answer to a prayer," somehow I wasn't informed of the practice schedule after our break. I actually confronted the group leader on that, telling her I was okay with that, but had I been a new member of the congregation, that would have been very uncool. She apologized but I think she had her own agenda the whole time. People are funny, aren't they?

I agree with Strumelia on this, Thanna. Don't be discouraged.

Having even just one other player who enjoys the same tunes you do is very nice. Before I left the group, one of the other members had mentioned to me that she too wasn't happy with the speed every tune was being handle at, and she wasn't enjoying the music the way she had hoped to when she bought her dulcimer. She to had come to the instrument from hearing the drones.

So once a week we started meeting at my place, and enjoyed an afternoon of music together. We shared an interest in pretty much the same type of music, and a simple melody/drone playing style. I miss our getting together since she moved away.

Keep looking, and I hope you find another group to share your dulcimer with.

Strumelia said:

Thanna, don't be discouraged. It looks like you perhaps just don't fit in with that group.

All it takes is to find ONE other player who likes the same kinds of tunes you do and is open to both of you exploring and learning while playing and having fun together. Could be another dulcimer player, a fiddler, a banjo player, guitar, mandolin, whatever. Just someone who wants to work together at a beginner level on some tunes in common, without being judgemental. Maybe your teacher can help further now in this new situation.

As for the club....you already have a dulcimer teacher, one who apparently has some confidence in your abilities. Don't give up how you like to play. Perhaps that club should clarify their purpose and goals.

Thanna, don't be discouraged. It looks like you perhaps just don't fit in with that group.

All it takes is to find ONE other player who likes the same kinds of tunes you do and is open to both of you exploring and learning while playing and having fun together. Could be another dulcimer player, a fiddler, a banjo player, guitar, mandolin, whatever. Just someone who wants to work together at a beginner level on some tunes in common, without being judgemental. Maybe your teacher can help further now in this new situation.

As for the club....you already have a dulcimer teacher, one who apparently has some confidence in your abilities. Don't give up how you like to play. Perhaps that club should clarify their purpose and goals.

Then again, I was asked if I wanted to join a jam recently, and did so reluctantly because I did not know the tunes they were playing and I was carrying a new (to me) dulcimer with which I wasn't fully comfortable. However, insistence of the people prevailed over my common sense and I joined in anyway. I chorded along using my thumb and fingers not a pick, didn't try to take the lead and played a little "fill" type harmony. I was asked several times to lead a tune, but I begged off. NEXT time, hopefully, I'll have an instrument I've played more and which feels comfortable and I can more fully participate since I had a GREAT time just being with those folks!

Keep looking Thanna and you'll find a place to fit!

Ken - You know what I meant, didn't you ?. I just am shocked that 3 enthusiasts who bit the bullet and went to a jam or session and ran into a brick wall instead of being welcomed thro the door - hopefully as we would welome newcomers. Thanfully they are probably the only 3 sessions (jams) like that. And I also agree with Foggers and the bullet points she makes.( Only 'cos I met her & her partner is bigger than me ), treat the newbie like you would want to be treat in the same situation.

I fall into the DADist and Chordist camp tho. I know no better (Bad education -- beer mats )

Hi - good topic choice Lisa!

Thanna - I would add my support to that offered by others. If there are no other specific dulcimer sessions in your area then look for an old timey, folk or acoustic session. You may have to try a few places until you land on one that is flexible and welcoming. I have certainly had my share of trials since I decided to get back into some public music via sessions about 3 years ago. It is worth persevering to find sympathetic others to play with as it will speed your learning immensely; I know that jamming and playing in public (alone and with others) has been a real shot in the arm for me. But first, a cautionary tale....

When we moved house a couple of years ago we were thrilled to find that a pub just half a mile away had a regular folk music session every week. However, having tried it a few times, it is not one we attend regularly, and I will tell you why.... The core members of the group have known each other a long time and know all each others' material, so they all launch in to everything without really listening. This can be a REAL problem. For example, once I was up to speed on a few american folk songs, we did "Shady Grove". Within 30 seconds of playing and singing, one of the regulars shouted "Oo its just like 'Matty Groves!' " and they all waded in on guitars, mandolin and melodeon. Well actually, the melody we use is NOT exactly the same as 'Matty Groves' and the harmonies we use ( we sing together with banjo ) are not the same as the famous version of Matty Groves these chaps all knew. The result was that we could not hear each other, and the discordant clash between what we were playing and what they were wading in with was HORRID!!

So to add to Strumelia's list of guidelines for welcoming newbies to a jam :

• Ask your new comer(s) if they would like to play
• LISTEN to what your newcomer starts up with and ONLY play along if youare sure you know the version more or less exactly, or you are such an accomplished musician that you can pick it up quickly
• Allow the newcomer to lead on their piece, including the tempo - follow politely
• Do not drown out the newcomer when they are playing; it is too off-putting
  
  

Happily, we know other great places to go now for playing and singing; so I guess the moral of my tale is that you may have to kiss a few frogs before you find the perfect match.....

Thanna said "I'm probably too new for most people to wantto play with LOL!"

You are welcome to play around here any old time! Frankly I enjoy watching the Light come on as new players "get it" and

New-ness is never an excuse for that kind of behavior. We're supposed to be about helping new people find, enjoy and come to love our non-mainstream instrument, not dictating that you will play in a specific manner. Thank Murphy there is no such thing as the formalized Suzuki Method for dulcimer! If there was, I'd take up something really obscure like left-handed cimbalom or fretless ukulele!

David - I hope you realize that the vast majority of dulcimer players over here are not like those described above. Every barrel has its bad apples (to twist a few metaphors). However it is also true that the overweening attitude here is that DAd is the tuning and that there should be no sticks in the left hands of dulcimer players.

As a noter & drone player for over 35 years I've experienced my share of of Dadism and Chordism. Is it any wonder that I sometimes sign myself

Uncontrite Modal Folker

I do not believe what I have just read. Thanna , Folkfan and R N Lackey have just shot down in flames the idea that dulcimer players are friendly, even- handed and open to new things . It seems that the 3 of them have run into a group of dyed -in -the wool diehard reactionaries. I understand that the States is the home of Trad Appilacian dulcimers . Talk about " how to win friends " Two choices then , 1 . face them out and stick with it until you win them over or 2 as has been said find a new group or start one yourself. In my neck of the woods( N E England ) we (dulcimer players ) are so few and far between that we are only too pleased to see each other. I put my hands up and confess ,I have never played noter,nor tried any other tuning other than DaD. Now I have more than one dulcimer, I may in future experiment,but I doubt it . Its taken too many years and too many blistered fingers to get this far. DO NOT GIVE UP.

I am more than 3,000 miles away and I feel quite angry about this,(not an easy thing to do) Thank Heaven that it (so far) hasn't happened to me.If it has, I never noticed (Thick skin ,or too much Guinness )

Well Thanna,

As a noter drone player, you need to find yourself a good old time banjo player to jam with. Banjo and noter drone go together like ham and eggs Much better than trying to fit in where your playing style is not appreciated.

Thanna said:

Justreturned from my first - and very likely my last - jam with the local dulcimer club and wish I'd printed this out to take with me. I just endured a 2 hour lecture on why I should play DAD, why I should chord and how I need to play without a noter. To say that I didn't feel welcome would have been an understatement. I left at the lunch break because I'd had enough. Sad because I felt pretty good about my ability to keep up with the music itself.

Back to playing for my own enjoyment!

Sorry to hear about your problem with the local dulcidiots club.

Maybe you should print all this out and go back again to thank everyone for your previous visit and hand them a copy of this !

Where do you live; maybe we can find you a couple of sympathetic unbigoted, unprejudiced folks to play with...