Forum Activity for @jan-potts

What I'd always heard was, "If you wouldn't be able to sit there for an hour (or two--or eight--ACK!), then don't expect your dulcimer to "be okay with it".

Kandee, changes in humidity rather than temperature are the challenge.  Wood takes on and gives off moisture continuously and will naturally mimic the ambient air conditions.  The wood will give off and take on moisture until it is in balance with the moisture in the air.  As wood takes on water it expands and as gives off water it contracts.  Dry enough conditions, for a long enough period of time, can eventually cause cracking.  The more stable you can keep the humidity in the instrument, the better.

Wood doesn't expand and contract much due to air temperature.  

The good news for you is that the process is usually slow, so you likely won't hurt your dulcimer by leaving it in your trunk for a day.  I wouldn't leave in the cabin of the car where temps can get really high (well above 120).  That could cause issues with the glue joints if it was made with a traditional hide glue or something like that.  If it was made with a contemporary wood glue (which it most likely was) you probably won't have an issue.  

Kandee,

First, congratulations on getting your dream dulcimer.  My dream dulcimer is always the next one!

Second, you might want to join the Dulcimer Care and Maintenance group here.  I'm sure you will get better advice than I can offer.

Third, I am no expert, and I don't even play one on TV, but my sense is that extreme temperatures, extremes in humidity, and quick changes in both of those are all potentially harmful to any wooden instrument.  I would not leave an instrument in your car all day in the Indiana summer unless you can ensure that it not get too hot.

Marg, if you have the time, you can easily spend several HOURS at Song of the Wood, playing all the different dulcimers that are hung on hooks around the room. It's just a short jump off I-40 and well worth the visit!

I've hesitated joining the fray here for a while, but I think I've finally "percolated" on it enough to be able to explain my thoughts.  There are a few issues intertwined here.

One is whether we should try to replicate some supposedly "authentic" version of a song or reinterpret it.  Obviously, opinions differ.  Some people still play Dixieland jazz more or less as it was played in the 1920s.  In the dulcimer world, we are lucky to have people doing their best to preserve traditional styles of play as well.  My own opinion is that we should study traditional sources of our music, but if we do nothing but replicate slavishly those traditions, then the tradition would be dead. However, even in trying to copy those traditions, we necessarily re-interpret them, don't we?  When I was trying to play blues guitar and copied note-for-note what Robert Johnson played, I knew I did not sound like him and had to make the tunes "my own."

If we accept that copying exactly what some earlier performer has done is worthwhile to try but ultimately impossible to accomplish, then we should be freed up to study those earlier versions but make our own music.  

A second issue is how precisely we should play on beat.  I would suggest that we should all be able to play on beat, but that once we have that ability we need to free our creativity to pause in between lines, hold some notes or chords longer than others, play some sections louder than others, and so forth.  I would only insist that those variations should be done on purpose rather than the result of an inability to stay on beat.  A couple of years ago I arranged a version of "Ashokan Farewell" and was kind of proud of myself.  I posted it at Stephen Seifert's Dulcimer School, and his feedback was eye opening. He praised some of the chords I chose but also suggested that I vary the tempo and the dynamics to create a more expressive piece.  He was basically telling me that I was playing on beat but sounded like a robot.  If you're playing a contradance, you obviously have to stay on beat.  But if you are playing solo, especially if you're singing, then the dynamics and tempo should follow the emotional expression of the song and vary accordingly. At our family reunions for years we would gather around a campfire in the evening and sing songs. My mother was the main singer, and from the age of 10 or 11 I began to accompany her on the guitar. One year I had been trying to play with some really cool rhythms and I got frustrated that my mom would pause in her delivery, or hold some notes way too long, or whatever.  My uncle saw my frustration and whispered in my ear that my job was to accompany the singer and not impose any kind of speed or rhythm on her.  That comment changed my perspective about what I was doing and how to add creativity to a rendition of a song.

I, too, hear Barbara Allen as in 4/4 time, even though this discussion led me to seek sheet music and several versions on YouTube in 3/4 time.  I don't know if anyone could prove that one is more "authentic" than another.  But I would suggest singing it however it feels right to you.  A big part of maturing as musicians is learning how to play within ourselves.  If a rhythm or chord or note or word does not feel right, don't play it.  Find what feels right to you.

Finally, I have to confess that I can't hear Joan Baez's voice without crying.   The lyrics don't even matter.  There is something in her voice that is too pure for this world.

I do not have a copy of what she collected. I'd assume a lot of them came from books, but some she may have gotten from family in Ark.  She's dead now, so, if her research still exists maybe her daughter has it.  I don't even remember the daugher's name.  LOL.  Seems like she might have been a little younger than me, so she may be still around.  I'll do some checking on Ancestry and see what I can find.  My version is sort of an Ozarks version, but with verses that now I couldn't tell you where I picked them up.  

I've often used the same end wire cutters that Ken does. But I also have a string winder by Planet Waves that works as a wire cutter. I put it in my dulcimer case and take it whenever I'm playing somewhere.  I've seen prices as high as $15 but I'm sure you can find it for $5-$7 if you dig around.  It's actually 2-3 tools in one, although most dulcimer players don't need the little part that pops out end pins.

Here is is from Musician's Friend .

Edit: The one I have is exactly like the one in the picture above. But I read some of the customer comments and it appears there is also a cheaper, plastic version out there that might not work as well.  The one I have is very sturdy and works great.  I use it on my guitars, dulcimers, and mandolin.

Thanks Annie, can't wait till I can be there. This coming Friday or Saturday maybe

Oh, I have one of those, didn't know what it was for - came in a nice set of different type of pliers.

Great, will try them.

Thamks

There is a wire cutting tool called an End Nipper or some such -- lets you get reeeaaal close.  I use it for cutting frets to length.

Here's a link to a couple different inexpensive End Nippers from Amazon: 

http://www.amazon.com/uxcell%C2%AE-Nipper-Cutting-Pliers-Jewelry/dp/B00524WTO4

Hi Marg, nothing more to add - just can't say enough about the folks at Song of the Wood. So welcoming, Jo Ann encouraged me to play. Very interesting shop! I notice Black Mountain has a music festival in October that is mainly ducimers (see events list here) it would be delightful to go- if only it was  a bit closer to me...

Enjoy Black Mountain! Be sure to leave time for lunch, coffee, other shopping.

Rob, that's so cool !!

My mother's cousin who lived in Harrison, Ark. (her mother was my grandfather's sister from Stone Co., Mt View area) had what I thought was an interesting hobby.  This was back in the 60s when I was just a child, and Marie's hobby was collecting verses for Barbara Allen.  I think she had found around 150 and that's without the internet.  Let's say over 100; I hate to exaggerate.  I've had a "soft spot" for that song ever since she sang it for me.  I hope I can do it justice for her

Are you sure you were there?  That was pretty crazy lighting.  LOL... I'll post up me doing at least part of it tomorrow and we can see if that's the way I really do it.  I was trying to sing as I wrote... but who knows

I use 'needle nose pliers to clip'  but it is never close enough and leaves just a bit of wire. No problem with that but will try the 'back & forth' and compare. I need to be more consistent in how I do it so each is done similar and not each string different since I am still learning. I have gone through the holes twice and have tried over and under - the first way is harder to get off and the second way is still not very  neat. Still needing practice but what I do holds, just isn't right yet.

thanks

And speaking of snipping off the extra string length:

From 'In Search of the Wild Dulcimer' by Robert Force & Albert d'Ossche ..can someone please do this, please, pretty please, then post a picture...Dusty? 

"There is really only one truly efficient technique for putting strings on an instrument; however, there are at least three schools of thought on this matter. Some people are aghast at the thought of cutting off a string's excess length. They wind the string onto the tuning peg in a way that allows the excess length to dangle hither and yon, thereby preserving, as it were, the string's 'soul' - while providing a convenient place to jam their filter cigarettes while playing. We call this the 'Rock 'n' Roll String Syndrome'. (bolding my choice to highlight this awesome and hilarious visual)

Same here Marg; I use the wire cutter in the middle of my needle nose pliers to clip off any excess string after going around and through the hole twice and pulling up tight.

Marg, when you say "finish the string off neatly," do you mean what to do with the excess string that sticks out of the tuners?  Butch's method of twisting the strings until they break will indeed work, though sometimes you have to be patient. It might take several "back and forths" before you succeed.  I have a metal string winder that includes a wire cutter on it.  I just cut the excess string as close as I can and then push the end (not with a finger!) so that it bends back and can't cut you.  

I make loop ends out of ball end strings this way - pushing the other end through but I'm always at a lost as to how to finish the strings off neatly. I will try Butch's way, over than under and under and under than back & forth till it breaks off.

Sounds good, thanks Dusty

 annie,

I will be traveling to Asheville, NC in a few days. I plan on going to Black Mt.  to see and play or hear a few of their dulcimers. Any other comments you have on the shop or the town would be most helpful.

thanks

marg

Sorry, Mary.  Not my cup of tea.

Yes, I like that feature of the Sticky Grip picks too!

I get mine through Elderly Instruments. They have a huge selection of thicknesses and variations of the GuitarMoose picks.

eeeeeEEEEEEEEEEE doggies! Y'all done fixed a problem I didn't know I had ! Once this discussion called my attention to it, I do recall having to reposition my pick quite often. I'll be trying these remedies. Thanks everyone. 

There are lots of solutions to this common problem.  One is simply to punch a hole in the pick so that your fingers actually touch each other. You are absolutely right, Kusani, that you don't want to hold the pick too tight.

Personally, I use Dunlop Tortex picks and I find a tiny bit of moisture is all I need on my fingers to get the pick to stick.  It might look gross, but I constantly lick my fingers and then wipe them on my jeans just before grabbing my pick to play a song.   

I figure if Steph Curry can lick his fingers before hitting a foul shot, I can do so before banging out Napoleon's Retreat.

For folks who are still nervous about changing strings, there are several video demos out there about how to do it.  Just a few months ago on the first and second Dulcimer Road videocasts, Butch Ross demonstrated how he changes strings.  Note how he uses a capo to help hold the string in place while he winds it. (Now why didn't I think of that?)

Here is his demonstration on a flat head dulcimer: https://youtu.be/AyqayWugB9w?t=1m22s

And here is his demonstration on a scroll head dulcimer: https://youtu.be/sSwOjjhI_8Q?t=57s

Also note how Butch makes a loop end string out of a ball end string without removing the ball but by pushing the other end of the string through it.  (Now why didn't I think of that either?)

Some of you might like to check out this site:

http://www.thebluegrasssituation.com/search?term=banjo

Thanks, Marg, for that illustrated set of instructions.  I know this isn't the only way to do it, but several people have described this in words and I really needed a close up photo of how it looks when done properly!  The few times I have put new strings on, I end up with a big mess...which I try to ignore as long as I can get the notes I need.  I am going to also bite the bullet and make myself change a few strings soon...I need to get some with odd sizes though, so I'll need to go across town to Guitar Center....that may be awhile...

Interesting that you can only get ball ends because I have a whole drawer full of loop end strings and seem to mostly need the ball ends.

I also like the Sticky Grip picks...I buy mine from Mike Clemmer.  I can set the pick down on my instrument while I'm attending to passing out music or getting something out of my case, or writing notes on my tab, and it doesn't slide off...many folks find that very impressive!

Nice work kusani.  We all do what it takes to make things work for us.  I personally find a bit of roughing up with 60 grit sandpaper gives a more sure grip on my favorite picks.

I've never had that problem.  I'm lucky I guess.

I really like the GuitarMoose Sticky Grip picks.

http://guitarmoose.com/products

I want to keep control of my pick without gripping it too tight, and not worry about it slipping in my fingers.  I tried the sticky 'monkey stuff' and other substances but just wasn't pleased.  The solution is a pick that doesn't slip, I have total control without having to grip it tightly and don't have any 'greasy stuff' to wipe off my fingers.  Using hollow punches, 220 grit abrasive paper and a 'tiny' drop of super glue, I made two discs for each pick and applied one to each side.

 Works beautifully!!!  You can see I am still experimenting with various pick styles. 

Personally, I really enjoy just playing the dulcimer ON THE LITTLE T.V. TABLE with my little 4 feet on the bottom of the dulcimer.  In the early books on dulcimers, Jean Ritchie has many photos of folks playing them on tables....but mostly she played her on her lap. Makes more sound on the little table...looks ready to play all the time sitting on my little table.  yeah, and I play it often.  While I'm in the shop working as I am today, I'm thinking what songs I'm going to play on my dulcimer when I get back in the house.  ha.  (How can I keep from singing) in the tune that's going on in my head today. 

When I use my Jim VanderWoude possum board, it goes on my lap, just like a dulcimer w/o a possum board. The possum board also has strap pins on it, if you want to attach your strap right to the possum board.

yep, I've got two "rescued" dulcimers that I've found and fixing the seconed one up now. Loved the little feet on them, GREAT SOUND....I've made 18 dulcimers and so this last one I put little knobs on the back....great sound again. If I knew how to put photos on here, I'd post 'em.  I'll learn.  ha. as I've got photos I want to put up.  I've learned so much from this site.  I mostly make harps and bowed psalteries...but play these with my husband that plays autoharp and guitar.  Pictures coming when I can figure it out.  Thanks so much for responding.  I like the folding table you have.  aloha, irene

That certainly is a distinctive style of instrument, from the unusual scroll head to the relief slots in the top of the tail.  I wish you well in finding our more about Mister Pyle.

Here's a link to a short discussion about Pyle and his dulcimer from Everything Dulcimer.com:  http://www.everythingdulcimer.com/discuss/viewtopic.php?f=3&t=31812

If you google his name along with the word dulcimer you'll find several mentions of him...

Irene possum boards help with the sound of dulcimers some of the older style dulcimers have feet on the back so when you play placing the dulcimer on top a table this helps with increasing the sound.

I have a folding table, size of a tv tray. 

this is very interesting.  do you put this on your lap or on the table to play?  thanks for the pictures, they say 1,000 words. 

Thank you for the warm welcome.  I peeked and poked around on the Dulcimer and found an orange sticker inside one of the cross-shaped sound holes.  It identifies the builder as Paul W. Pyle.  Each of the other sound holes have the "serial number" of 1023 written by hand.  

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