My experience has been that a dulcimer builder who knows the woods they are using, knows how to test their vibrating characteristics, can definitely and specifically influence the voice of the instrument.

In fact, after doing so for a number of years and keeping careful notes of choices and the resulting voice, a builder can forecast what the instrument will sound like, and thus custom shape the voice for the client.

This all depends, of course, on having enough stock of each wood used so that one has a range of choices. And that the woods used are adequate for good voice quality.

And that depends on what the client wants from the dulcimer. That's why so many different dulcimer builders are at work: there are so many differences in what a musician is looking for in a dulcimer. In an instrument like the violin, there is such a long history of what works and what doesn't, there is far less variation in what a violin should sound like.

I build dulcimers and Uke's. Wood plays a huge role in sound.

The harder the wood, the more crisp the notes are.. the softer the wood, the "softer" the sound.

I like to use hardwood bodies and sides with a soft top.. I just like the way it sounds..

I made a couple of ukes out of Paduak and loved the way they sounded.. But I love the soft sweet melody of a spruce, cedar or redwood top.

Just my 2 cents!

My answer to your question is yes when choosing a dulcimer from one maker who has instruments available made of different woods. There are two things that determine my choice of an instrument: sound and looks. If the instrument does not sound pleasant to me nor is visually appealing, I'm not going to play it. I know you are a long way from WV, so I do not know if you have the opportunity to hear the instruments (over the phone?) or look at them. Of your four choices I am only familiar with poplar bodied instruments and like them very much. Not having heard instruments made from the other woods, I can't comment on them. Best wishes as you make your choice.

Ken

"The dulcimer sings a sweet song."

Rob, I totally agree. If one ever has the opportunity to sit and play several instruments by a single maker in a showroom or festival display setting (with construction methods being consistent by the maker), a player can discover a remarkable difference between the different tone woods and dulcimer shapes.

Rob N Lackey said:

Well, Ken, in this case all other things are equal except for the type of wood. Jim's instruments are the same size, same bracing, same vsl, etc. Therefore any difference in sound in any of his instruments must be related to the wood choices. I've played a lot of his instruments and, yes, there are differences in sound which can only be attributed to the type of wood used in the instrument. That's why I didn't bring up any of those things in my answer to Denise: it doesn't apply!

Well, Ken, in this case all other things are equal except for the type of wood. Jim's instruments are the same size, same bracing, same vsl, etc. Therefore any difference in sound in any of his instruments must be related to the wood choices. I've played a lot of his instruments and, yes, there are differences in sound which can only be attributed to the type of wood used in the instrument. That's why I didn't bring up any of those things in my answer to Denise: it doesn't apply!

I'm on the other side of the wooden fence My experience is that there are a huge number of variables which affect the sound of a dulcimer, and that the kind of wood is pretty far down the list. A competent luthier can make almost any wood (or even cardboard, plastic or Legos) sound the way you want by adjusting any of a number of variables such as bracing, cubic sound box area, VSL, break angle of strings, details of fretboard construction, etc., etc.

I buy dulcimers using two criteria -- what it sounds like, and what it looks like.

Well, Denise, getting a West Virginia instrument, eh? I have 2 Jim Good's: an old one that's all walnut, and a newer one that's butternut. They are great instruments.

Now, to your question. Some people will tell you the choice of wood won't make that much difference except in looks. I own a lot of instruments in various woods, and I think it does make a difference. So.... based on just what you told us, I'd go with the poplar. I have an all poplar instrument and have another with a poplar top and they both sound great. My 2nd choice would be the padauk. If I heard them and they sounded similar, I'd pick the one I thought was prettiest. I hope you enjoy your Mastertone! Jim & Brenda are nice folks, and you'll be getting a very well made instrument.

Rob

I have a Seiko SAT 501 that indicates octave. It is not a clip-on, though, so you have to either use it in a quiet room or plug into it directly.

Yes, D3 for bass and A3 for all of the 'A' strings [DAAA].

The small 'd' is used to show it's an octave higher [D4].

That's what it looks like to me. I don't have one but I would look at this one, or the Boss TU-80 which looks to have the same capability, for sure, since I like that feature. Presumably they are defining middle C as C4. This means you would tune your MD to D3 [base], A3, D4 for the DAdd tuning.

Oops, see the post right above yours. :>) Read it too fast, didn't ya! I do that also.

I love my Boss TU-80. It shows the scientific notation of the pitch you are on (i.e. c5, A4, etc.).

Korg OT-120 looks like it has that capability.

Thanks for letting us all know that the mystery is solved! George Orthey's name kept popping into my mind whenever I remembered this thread, despite having seemingly been ruled out by your earlier enquiries! What superb dulcimers he made! I bought a teardrop Orthey from the indefatigable Geoff Black earlier this year, and it's a magnificent dulcimer - equally at home with noter/drone and more modern styles of play. Geoff himself has an hourglass Orthey which is every bit as glorious.

That's great that the mystery is solved. Thanks for letting us know.

It looks like a very nice one, and beautifully made- well worth repairing i think.

Howdy David,

Jerry Rockwell forwarded to me the pictures you sent him. Glad to see a photo of the top, however, it still rings no bells with me. I had thought it might be early McSpadden as I've seen some of his early ones with the cuts at the tail. I've never seen one of his with staple frets though. I'll keep searching and hopefully the collective mind of FOTMD will come up with an answer.

Rob

I usually keep a few picks in the watch pocket of my jeans and carry a pick in my wallet. I have a little zippered pouch that has a ring on it to carry keys. I attached a small carabiner through the ring and attach it a belt loop on my jeans, slacks or shorts. That works well enough for me and will hold a noter or two as well as picks.

Ken

"The dulcimer sings a sweet song."

OK - Golden rule No1: NEVER become attached to a favourite noter of pick because you will certainly break, loose or wear them out !

Warning: Do not apply this rule to spouses, partners, or sweethearts!

Love the pix, Robin...very descriptive!

OK - Golden rule No1: NEVER become attached to a favourite noter of pick because you will certainly break, loose or wear them out ! You know its going to happen

I used to keep my picks and noters with my keys or my glasses - but because I can never find my keys or glasses I could never everfind my picks or noters

So now I have them stashed in totally random places all around the house, so when I'm looking for mygloves or hats I can find picks and noters instead and forget why I wanted to out in the first place and just pick up a dulcimer and play that (much to the chagrin of my better half )

But I do have the ultimate place to store my favourite picks and noters and I ALWAYS know exactly where they are I store my favourite quill picks here...

...on the local Black Backed Gulls.

And I store my favourite noters here....

...in the reed beds of our local river.

So now I never loose them

(I do like the look of those little bags though and have a couple of those little ethnic purses from Nepal with picks and noters in them )

Very creative Maryann.

Ken

"The dulcimer sings a sweet song."

I had a noter with a leather lanyard. I liked it because I could drop it and play with my fingers then swing it back up again. Unfortunately my dog thought it was a chew toy one night. I'm ordering another one this week LOL.

Terry - you can tune ANY dulcimer into ANY tuning. Especially with the string set which Dave puts on his instruments. Even if you optimize the strings for a particular tuning such as DAd, it will still play perfectly well in DAA, CGG, CGc, etc.

Since you're playing Noter & Drone, just ask Dave to give you a slightly taller fretboard. That's what he did to a slightly customized Student model I got from him a few years back.

I have a Sweetwoods with a deep soundbox and I really love it. Great tone, easy to play (action ) and all-in-all a quality instrument.

I know of four different methods to playing that barre chord. Two involve an individual finger and two involve three fingers.

Stephen Seifert uses his ring finger to lay across all strings. Aaron O'Rourke uses his pinky in the same way. Either of those methods require some practice as you have to build up muscles and callouses in your finger. They have the advantage of leaving your other fingers free to fret strings above the barre. People who play like that a lot sometimes get dulcimers with a radiused fretboard, meaning a fretboard that is slightly curved, making it easier to use a single finger to depress all strings.

The other methods involve either your index, middle and ring fingers on the bass, middle and melody strings, or your middle, ring, and pinky. I learned the first from Linda Brockinton and the second from Mark Gilston. Both have their advantages depending on the other chords and notes that follow and precede the barre. Most of the time I try to use my middle, ring, and pinky fingers on the bass, middle, and melody strings, as that leaves both the index finger and the thumb to play strings above the barre.

Any of these methods require some practice (the first two a lot more), so don't get discouraged if they feel awkward at first and if you can't get a clear sound right away. Keep practicing and you'll get it.

As Rob mentioned, I use both techniques. It all depends upon the song. Some I find myself using a one finger barre and on others I use my pinky, ring and middle fingers to hold down each string. My thumb can then move up and down the fret board. It does take some practice.

Ken

"The dulcimer sings a sweet song."

Thanks Rob, it is a quandry for sure!

Julie, you're using a technique that requires a lot of practice to get right. I barre with a finger across the fretboard since, as a guitarist, I have used to doing it that way. Sometimes I use my little finger, other times I use my ring finger. An easier way might be to use 3 fingers, probably index, middle and ring, to make the barre. That allows the thumb to be free to move up the fretboard. Give that a whirl and see how it works for you.

Ok hopefully this comes out right; I have been trying to play a couple of songs, but in the songs there is a note when all three (or four) strings need to be depressed on the same fret. For instance, it would be 3 3 3 My problem is, when I put my finger down, the strings fall where the crease in my finger is, so I get a dead sound, or something that sounds very off key. I'm not sure how to compensate for this issue. Any ideas?

Thank you John! Thank you for looking and comparing, and for your input! I am so excited about trying to figure this out!!!

Cindy,

Looking at the new photos of the side of the head and the knob glued on the end, I'd say it's very consistent with early Folkcraft dulcimer design. They've changed designs over the years. The tail end is different than what I'd expect, but the peghead looks very familiar to me.

John, you have no idea how exciting this isfor me. I was really close to my dad, and with him being gone so long and topossibly figure this out means SO MUCH to me!!!

I can't thank you enough for your help!!!

John Henry said:

Cindy, the vid is taking forever to load, and I need to get to bed (will no doubt be up a few times In the night ) but I have just looked at your latest pics and I would be prepared to bet folding money on yours being a 'kissin cozin' to mine, almost certainly a hand made kit job !!! I don't know where Folkcraft are now, but they were in Winstead CT in '85, if they have moved then records may not have moved with them ?Will review things in the morning, if you think it worthwhile, contact me with a pm ? Exciting, ain't it !

John

Cindy Stammich said:

Hi Frank,

Do you still have the dulcimer? Just wondering if we could compare photos.

Thank you!

Frank Ross said:

back in the early 70's I bought a kit from the RemBranD Company (their spelling and format) in Newton, Iowa. They sold Appalachian and hammered dulcimer kits. I have searched the internet for more info on the company but find very little. I still have the assemmbly instructions and a 6 page brocureon how to play it.

Mine is an hour glass shaped one - I'm not sure what models sold - will post a picture later

Cindy, the vid is taking forever to load, and I need to get to bed (will no doubt be up a few times In the night ) but I have just looked at your latest pics and I would be prepared to bet folding money on yours being a 'kissin cozin' to mine, almost certainly a hand made kit job !!! I don't know where Folkcraft are now, but they were in Winstead CT in '85, if they have moved then records may not have moved with them ?Will review things in the morning, if you think it worthwhile, contact me with a pm ? Exciting, ain't it !

John

Attached are a few more close up pictures of my treasure!

Attached are some close up pictures of my treasure!

Cindy, its late here, I am in my pj's, and my wife is asleep, so I am not working at my limited best ,lol, but am in the process of posting a terrible vid, if it works , i will leave it until you indicate that you have seen it, then delete. I will then endevour to take better pics which I will send to you via email, if you provide the necessary ?

John

Cindy Stammich said:

Hi John,

WELL! I am getting excited - I will post pictures shortly! The small slot underneath the head(scroll) and at the heel end are EXACTLY as you described! Also, the head/scroll and the fretboard are all one piece, and the head/scroll is a very shallow housing for the tuners.

Hmmmmmm

Thank you so much for the details!!!!!

I will post the pictures - please tell me what you think!

Cindy

John Henry said:

Hi Cindy, as you see, John is making the same suggestion as I did in your earlier post "My Treasure" ! I am an absolute duffer when it comes to transfering info quickly on this infernal contraption, so do me a favour, look at (i) underneath the head(scroll) where it joins onto the body. Can you see a small horizontal 'slot', approx 5/8" x 1/8" ? (ii) and then look for a similar slot at the heel end of the instrument, where fingerboard joins body ?

Also, can you tell us/show us if the head/scroll is formed by just the simple flat extension of the fingerboard carried thro' and channeled to provide a very shallow housing for the tuners ?

I have a 1985 Folkcraft (Winstead CT) teardrop, T 39 W, sitting in front of me now and apart from a rather more complicated finish at the tail, it looks the same. The shape and position of the sound holes cetainly are !!!

On balance, it would seem to me that it was either a simplified kit version of the instrument I have, or your dad may have made a close copy of one he had maybe seen ?

I really feel this answer deserves a Deerstalker and a magnifying glass !!! Just hope this helps?

one of the other 'Johns'

Hi John,

WELL! I am getting excited - I will post pictures shortly! The small slot underneath the head(scroll) and at the heel end are EXACTLY as you described! Also, the head/scroll and the fretboard are all one piece, and the head/scroll is a very shallow housing for the tuners.

Hmmmmmm

Thank you so much for the details!!!!!

I will post the pictures - please tell me what you think!

Cindy

John Henry said:

Hi Cindy, as you see, John is making the same suggestion as I did in your earlier post "My Treasure" ! I am an absolute duffer when it comes to transfering info quickly on this infernal contraption, so do me a favour, look at (i) underneath the head(scroll) where it joins onto the body. Can you see a small horizontal 'slot', approx 5/8" x 1/8" ? (ii) and then look for a similar slot at the heel end of the instrument, where fingerboard joins body ?

Also, can you tell us/show us if the head/scroll is formed by just the simple flat extension of the fingerboard carried thro' and channeled to provide a very shallow housing for the tuners ?

I have a 1985 Folkcraft (Winstead CT) teardrop, T 39 W, sitting in front of me now and apart from a rather more complicated finish at the tail, it looks the same. The shape and position of the sound holes cetainly are !!!

On balance, it would seem to me that it was either a simplified kit version of the instrument I have, or your dad may have made a close copy of one he had maybe seen ?

I really feel this answer deserves a Deerstalker and a magnifying glass !!! Just hope this helps?

one of the other 'Johns'

Hi John,

Well,a couple of others have said the same thing. I emailed some pictures to Folkcraft but they didn't seem to think that this was the case. I do have to wonder if maybe they didn't have picturesor info going back that far, as I know the company has changed hands.

I am still thinking this may be a Folkcraft.

Thank you for your input!

Cindy

John C. Knopf said:

Cindy, it could be a Folkcraft teardrop dulcimer kit.