Forum Activity for @skip

You could use a pdf splitter. I have just the books so I made pdf's of each page.

Thanks for bringing that up  Dusty. I didn't think to mention that, I was on a tablet and a bit pressed for time.

I've also tried DF#A and DF#AA [4 equidistant]. It may be better to describe these tunings with numbers in order for them to be translated to other keys [135 or 1355, etc]. Bing Futch teaches some interesting things in his book 'Blues method for MD 101' that uses 'boxes'.

You can try 4 equidistant tuning of DAA#d. Janita Baker uses it in several of her books. She also uses several others, which I don't remember, for other keys.

'Hits of the Beatles' by Neal Hellman from Hal Leonard

If the bass string is .012-13. It may be set up as all strings the same size, dddd. which is also compatible with DAdd.

I've had it happen to me when I first started making MD's, when you hit the center of the fret 1st, it bends the ends up. Now I tap an end to get it started then move along until it'spartially seated then finish using a flat metal bar across the top of the fret and tap on that to finish seating the fret [fretboard already installed] or press them in using my drillpress. I've also started making finished frets when replacing or installing on a finished fretboard.

The builder may have cut the fret to exact length, cutting with side cutters or equivalent warps the tang, or it was a bit short from the kit maker to begin with.

Look for something that seems to make the strings to change [affects] length, for example, one string making contact at the rear of the bridge/nut [open] and the front when pressed or if there is a zero fret involved, a string that does not touch or is not bent over it. Flat is string too long, sharp too short from fret to bridge. The inside edges [fret side] of the nut/bridge should be taller than the outside.

The fret was probably bent up on the ends during installation and the ends were filed down to make them level

One other thing I can think of right now, make sure the 2 strings are the same gage.

Umm, that's pretty much an open ended question. Generally the tools needed, something to remove the bad fret with a minimum of tear out, cutter to cut the new fret material, file[s] for the ends/leveling/shaping, a hammer, a small block of hard cushioning material to minimize damage when installing the fret, a short straight edge to check the height across 3 frets, tape to protect the fretboard around the work. You also need to match the fretwire used so you may need a vernier caliper.

A question I have is what leads you to believe the fret is the problem for a bit of flatness in one string? I would look at the nut/zero fret/bridge/string first since the flat sound is more likely to be the cause in those areas. And just a note, it could be either string. A bad fret would more likely cause a buzz or dead sound [clunk]. Lay a straight edge [or press a string across the to adjoining frets] and examine the fret in question, light between the fret and straight edge/string verifies too low . The fret may have been flattened to match heights and never re-rounded.

Noah ; first to answer your last question, 28.5" is not the perfect VSL. If it were that would be all that would be available. There are some folks that not afraid of changing strings, they just don't want to bother with it for various reasons. That is good for a few of us to make a few bucks doing it for them.

If you're able to tune your melody [.012] string to the g above middle c without breaking you're having pretty good luck, most break around there. You also are putting a bit of strain on your MD by doing it, the tension is about 3 times the rest of the strings. It would also help if you could sort out your use of 'modes', 'keys', 'string tuning' and 'overall tuning' for us. Basically;

A mode is an 8 [7?] note scale defined by the configuration of steps/half steps between the adjacent notes. The Ionian scale starts on the 3rd fret and has nothing to do with the tuning.

A major key is an 8 [7?] note scale using the Ionion mode configuration. The Aeolion mode describes one of the minor scales, etc.

A string tuning is the open string tuning of a single string.

Overall tuning is the open string tuning of all the strings to achieve a particular sound or capability. These are called 'modal tunings or just 'tunings'.

Gently heat the joint with a hairdryer or heat gun to soften the glue and continue prying it apart. I've removed the top/back on a couple of mine for various reasons. The only real problem I had was lining everything back up to reglue.

I loosen the inside one and pull it over the side, makes a spare if needed. This gives me an even spacing between strings.

I use DF#Ad [1358], equidistant, for now, along with DAD [I have 7 MD's], and have found it pretty nice. It's been fairly easy to learn to fingerpick/flat pick using DAd tab, I don't read SMN. You can also tune the melody D down to 'c' and have bar chord 7th's [or play 158 DAC]. 135 is really not for noter drone though, but is really good for chording and fingerpicking. I do use a slightly heavier string for the F#. I prefer the 4 string DF#Ad to the 3 string DF#A, which also allows using both tabs, 135 and 158. I also tried CEGc, which allowed me to get Dm [DFAd, 1011].

Describe 'trouble' and what is the key of the whistle.

Edit: If you half hole on the whistle you may need to 'bend' a note on the MD.

There's a bunch of us here using TablEdit.

http://www.tabledit.com/

That's what happens on the D/d strings when you install the 1+. It's because the F is a 1/2 step above the E and the same below the F#. Some of the older instruments used a different calculation [temperment] or 'ear tuning' than what is in common usage today.

Probably because they are basing their discussion on the notes available in the key of C. A diatonic fretboard basically means that not all notes are present on the fretboard for one string, those are the wide spaces. If you tune the middle string string on your MD down to G, the third fret will be C. Checking all the notes on that string on the whole number frets will show that there are no sharps or flats.

When you base the discussion on the notes of the key D [G on the 3rd fret], the diatonic fret spacing produces an F#, the key of 'A' [D on the 3rd fret] produces a C# and F#. You only consider one string at a time.

I make them as needed. I have so much junk laying around I don't need to have a collection, plus I've even used shavings from a hand plane.

marg said:

Do you have some ready made or just when need one. Seems could have a few in different thickness, a collection of shims. Thanks for the info. on the 'glue', I have seen that mention in some areas & wondered about it. Never thought I would like to put glue on my dulcimer,

Just about everything you may use can be cut with scissors. Hard business cards or the hard plastic bubble pack for thinner shims. Most of this stuff will curl a bit as it's cut, but that won't hurt anything. I don't think I would use glue.

About $25 - $50-60.

I've got them on all but one. But then again all but one are chromatic.

You can 'bend' a note to get the + fret sound, bend the 4, get 4+, etc. It's just hard to bend close to the nut, at least it is for me. Of course it's really hard to bend a note in N/D style of play.

10ashus;

Don't give up on guitar oriented music, most all of it can be used, music, lyrics, and chords. they all can be used one way or another. It's just the tab that is essentially unusable. The music can be entered in a music editing program to generate MD tab if you really want it.

Most tab is not transferable between instruments because it is designed to tell the player where a note is on that instrument. If you were given tab for a chromatic MD, 4 equidistant strings, tuned to CEGBb, like I have, you would not be able to use it unless you had a similar setup.

Sure would have a wide fingerboard! There is one [almost], it's called a dobro and I guess a lap steel would be along the same lines, probably a few more kinds around. You could also just play a guitar in your lap, might be a bit clumsy because of size. Maybe a small or child's guitar in the lap?

Then the question is, are you playing a MD or guitar.

The biggest problem is that guitar tab is for 6 strings vs 3 for a MD. I've taken tab for guitar, in TablEdit, and transposed it, didn't work very well. I haven't tried with a chromatic MD, all the notes would be there but not the string count. A melody line would be playable on a chromatic if you used the music notation [smn] but most likely not the tab unless you can transpose the guitar tab numbers of the MD plus locations in your head, eg., a 3 [guitar] = 1+[MD], or 12 = 7[MD] or you are using the guitar counting with your MD already.

You would probably be held to flatpicking/fingerpickinh also, even if the rest of the differences were worked out.

Then there is the added problem of what guitar tuning is the tab set up for, same as MD.

http://www.seventhstring.com/tuner/tuner.html

I've had a bodhran for several years. I use it at a couple of jams I go to. I prefer playing it with others rather than my dulcimers. I was a bit concerned about taking it at first, but now most of the folks want it because it helps with timing [metronome effect]. The biggest problem I had was being too loud. I don't play it very well but that doesn't matter, it's fun and it really has helped keep the groups together, specially the speed demons in the HD group. I just recently bought a cheap tamborine to mess around with. Now I can have jingles along with a very small drum. :>)

I would try either a piece of fret board material or something contrasting, with a balance piece down by the bridge. Maybe some as fret markers like on a guitar. Kind of like inlay at the 0 fret and elsewhere.

You could try removing about .010-.015 from the top leaving a hump/bump for the 0 fret or gluing a .010-.015 x 1/2" x 1.5"shim or shaving before cutting the slot to raise the 0 fret.

Eric;

You can buy individual strings, just ask around, music stores, pawn shops [sometimes], and internet. All you need is the size [and end style if you need the little brass insert which can be removed if needed for loop ends].

The numbering system is pretty straight forward, you probably know most if it already.

1--2--3--4--5--6---7----8 The boldunderlined are the notes that make up triads and 7ths.

D--E-F#-G--A--B--C#---DTheboldare the notes in the chord.

I-- ii-iii-IV--V--vi-vii0-octave, the bold are the major chords, italics is a dim.

Are you familiar with naming chords by Roman numbers, eg., I chord, ii chord, etc.? If you are, try using the ii and/or vi chords [MOOC info]. ii chord in D is based on the E [EGB, (Eminor)], vi chord is based on B [BDF# (Bminor)]. In G, ii is based on A [ACE, (minor)] and vi is based on E. I don't remember exactly how they're used, as replacements for the IV/V chords or in line with them. You could also try using the dom 7ths, the basic 3 note triad plus the flatted 7th, in place of the major chord, for 3 strings try dropping the 5th [last note] of the triad, eg., D=DF#A; D7 = DF#AC; 3 stringer = DF#C. You could also try dropping the 3rd instead of the 5th, eg., DAC. Major 7ths may work, basic triad plus 7th, eg., DFAC#.

This is all stuff I just learned so I don't really know how well it will work.

From what I learned in the recent MOOC, chords are, essentially, harmony, if that helps.

It's great when things come together.

Thanks for the tip.

Try using the 2 modules, the 1st with the lead and the 2nd the chords. Hide the tab for the lead and the notation for the chords. You may need to adjust spacing if the get too far apart. I don't know of any other way, although someone else may. You might contact the developer and see if the grouping you're looking for is can be done. He is very helpful. There may be a way using the Text Manager, the chord #'s would be horizontal, 200, 013, etc. The text can be positioned above or below the tab or notation.

I'm not sure what you're after. The notation can be turned off [hidden] or the tab can be turned off, leaving the other on. If you're looking to have the chords as a separate work piece, you'll probably have to use an additional module and copy/re-enter them from the 1st module.

You can add a module from 'Score > instrument' selection just like the 1st module. This will give you another notation/tab set [module] in the score that is independent of, but in sync with, the 1st module. You can then turn off [hide] the notation/tab of either module as needed. The hide function is in 'Options >multitrack'. Just clear the check mark from the appropriate box[es]. This is how multi-part scores are on done also.

I don't know that I can help you with vocals, I've never done one.

1 - File > options > display > check mark 'Effects in notation' box.

2 - File > options > advanced > check in 'Extend bends/slides' box.

3 - Enter first note, eg., C in key of G > tab to move cursor > 2 note, C# [cursor on tab entry] 6 [same number as 1st note] and the plus sign. This makes the note sharp in the correct position on the staff. Using the sharp symbol or Alt D moves the note down a position and it must be moved back to the correct position.

4- Put the cursor on the 1st note, the one you want to bend, and click the 'simple bend effects' button. If you don't have that tool bar up you will find the radio button under 'Note > special effects'. The bend will be indicated as a bracket below the 2 notes in the notation and a curved line with the duration on tab.

I think I have it all there.

Note: I have a Musedit msi that may be usable.

They do have a 'pay after receipt' program now. I don't know the details, but it may help.

Think of it as having 2 fret boards, one with a C#, one without [ D mixolydian and G-ionian]. As someone once said, adding frets is like overlaying fretboards. The plus frets basically add flexibility without retuning.The melody string[s] provide the modal character and the remaining 2 provide the dronenotes which define or provide the background for a mode. Consider tunings DAC and DAd, both use the same drones to provide the background for different melody string modes. If you play a tune that doesn't use any form of C inDAd tuning, I suppose you could call it what you want [probably wrong].

312

Right.

I don't know what it would be called if you were to play a GEC or if it would even sound right.

Just a clarification, an inversion is the notes of a chord in a different order, low to high, eg., CEG is the basic C chord, EGC [1st invr] and GCE [2nd invr] are inversions. Just move the lowest note to the highest.

First a comment, the 'Mize' printed on the fretboard may be the name maker.

Second, looking at the slots in the nut make it look like the 2 melody strings may be right, the bass and middle may be reversed, but not necessarily so. That may be a result of the narrow width of the tuning machine recess. The shown pattern has a straighter pull on the strings.

Edit: Just looked at a photo of a Mize dulcimer and that looks like the same stringing pattern.

Compensation is to allow for stretch/tension between the frets and the bridge. Compensating at the nut would cause the distance from the frets to the bridge to be progressively off [sharper] as you fretted up the fretboard. Compensation is angling the bridge or relieving the bridge to effectively make the bass/middle string[s] longer.