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Everything posted by NoterMan

  1. I don't think there is any "standard" anchoring place. Each player finds whatever works for him/er self. It could be the edge, or a sound hole, or the side of the fretboard. The "anchor" is just resting a finger, or the edge of the picking hand. Experiment and see what works for you. Start by watching several of Bings videos without the sound, so you focus on his hand technique, and see what you can discover where/how he is 'anchoring'.
  2. Do you mean an actual object like a pickguard, or just a location somewhere on the top? I have seen the occasional dulcimer with a designed "wrist rest" at the tail end -- a sort of wooden arch over the the bridge area. Most players, certainly the expert players who I know, don't anchor or rest their wrist when strumming. We're moving up and down the fretboard with the pick, so that the strum is happening closest to the center of the vibrating string as its length changes. Personally, I'm an 'outie' strummer more than an 'innie' or back-and-forth strummer, so I often use my little finger t
  3. I only ever put about two loops on the tuning pegs. Through the hole, around and back through the hole again; and trim off the rest. A zillion loops around the peg before you come up to tune does nothing to make tuning any easier and just makes the tuning head look cluttered. Where did that melody string break? At the tuner end or the loop end or in the middle? With those gauges of strings on that VSL you should NOT be trying to tune up to the key G. A set of strings like that can tune from BFF to FCC without being too floppy or too tight, but they will not allow you to tune up to key o
  4. You've got the tuning backwards! Tunings are normally, these days, expressed from the bass string to the melody string; not the other way around. Tuning to DAA should have the bass string at D and the A strings 5 notes higher in pitch. A .022 string will almost always break if you try to tune it up to G on a 27" VSL. DAd tuning has the bass string at D, the middle drone string at A and the melody string(s) at d, an octave higher in pitch. If one of your tuners shows the octave as well as the note, you want DAA to all be in the 3rd octave: D3 A3 A3. Key of G t
  5. Make sure you move your right hand as your left hand comes higher on the fretboard; so that your picking is occurring half-way between the fretted location and the nut. That's where the 'action' will be easiest. I'm assuming here that you have a low action height -- at a minimum a "nickel & dime" low height.
  6. Welcome to the dulcimer world Tim! If you have any questions, ask away. There're aren't any dumb questions, just ones you don't ask.
  7. Your build is really beautiful! Congratulations!!! The welding rod string pins are perfect. The dulcimer has three courses of strings -- melody course (closest to you), middle drone course, and bass course (farthest from you). Any of those courses can have one, two or even (but rarely) three strings. Normally the melody and bass courses begin 1/8" in from the edges of the fretboard, and the melody course is down the center. Couplets, such as a doubled melody string, are spaced 1/8" apart to give the two strings room to vibrate without hitting each other. Instruments built spe
  8. That's OK, we all have to start somewhere. And somewhen. You'll catch up as we educate you!
  9. Like Admin said... "ball end" strings don't really end in a ball, but in a teeny brass ring, and you slip the ring over the end of the brad. You can also stick the pointy end of the string through the ball and have a 'slip knot' at the end -- that works for some of the older dulcimers that used 1/4" dowels for string pins.
  10. Must be nice to have lots of metal laying about! I think most builders these days put a label in their instruments. Maybe not the first one.... but building dulcimers is like those chips -- betcha can't build just one! Good idea to put the number of your build too. I generally just use small headless brads/finishing nails. That way you can use either loop end or ball end strings. No worries about bending -- the stress is at 90 degrees to the shaft, and right up against the junction of shaft and end block. I generally put them in at a slight upward angle though "just in case".
  11. Howdy Schmidtrock! Tell us what you play -- instrument, music style, all that stuff. Any way we can help, just ask. There are no dumb questions, just ones we haven't answered yet.
  12. DO NOT START OVER! Thickness -- a little under and over isn't going to hurt anything. Humidity/Warp/Gluing -- At least it bowed up, not down! You could weight the carcass down on something dead-flat and wait awhile for the humidity to go away. But that's no fun...! I often use water as my 'clamp' at this stage, and the technique should work here to help flatten things out as well. You'll need a large cooler, some scrap wood. and a dead-flat surface like your saw table or long belt sander table. I don't have a saw table, so I use a length of marble window sill that is abo
  13. You could probably thin that out from the bottom side, using a belt sander, and the a palm sander to finish it smooth again. The head can taper in thickeness -- be a little thicker at the rear and thinner at the outer end.
  14. The sound holes look GREAT! Nice job. Really. Especially with a push gouge. Saw the wood you are making the tuning head from, but we haven't seen what style/design you are going to use. Classic traditional scroll? Zither pin style scroll block? Flat 'guitar' head? Something new and different? In any case, the thickness of wood you have there seems extreme -- like that thinner laid up piece too thick. If that's a flat guitar head, they are usually only about 1/2" thick. Does that tuner shaft have just the one hole? Or is that the outer hole of two? If it has two holes you
  15. Don't worry, I've seen a lot more delicate soundhole designs. I've used card stock and heavier "cardboard" from new shirts and such as a soundhole reinforcement; also thin wood, as Ken mentions -- thinner than 1/8" usually but not always. The dryer sheet thing is an interesting idea that I've not tried.
  16. From the picture above. I would use the paw print you have sketched there -- perhaps just a bit larger -- as the large sound holes in the lower bout. Nice idea, but IMHO that size print just looks a bit too big for the upper bout location. Then make two more, smaller, paw prints, for the upper bout holes. Center the sound holes half way between the edge of the body and the edge of the fretboard, at the widest point of each bout.
  17. There is a hugely complicated mathematical formula that can be used to calculate the optimum total area of of sound holes based on the volume of the body and a sphere and a bunch of other higher math -- Helmholtz Formula and such. Anyway, as it turns out, a good rule of thumb is to have the total area of your sound holes be about the same area as 4-5 US Quarters -- each quarter is about 1" in diameter and about .75 sq. in. in area.
  18. As KenWL says, depth of the hollow is a personal choice. Personally I don't cut a strum hollow -- almost no one strums there, and you seldom see and pick damage to a full height fretboard except when beginners are just starting out and dig too deep with their pick. We all strum up around fret 12-14. I just run my hollowing all the way back to the butt end, and round-over the area between the last fret and the bridge location. One builder I know uses a small radius but decorative beading cutter on his router. I round over by hand.
  19. Wound strings are like the large diameter "bass" string. They have a multi-strand longitudinal nylon wrapping over a thin steel core, and are spiral wrapped (a.k.a. wound) with very fine wire. They look exactly like a wound metal string but have the spiral winding of metal. Wound nylon strings are only available in thicker gauges -- .020 or larger. You cannot buy wound strings in small enough diameters to work for tunings around DAA/DAd or other dulcimer tunings You asked originally about Nylon strings, which are like those on a uke -- a poltruded length of "nylon", like monofilament
  20. Dulcimer Jim -- you're talking about wound strings. The OP is talking about solid nylon strings -- like a uke or heavy fishing line. Not the same thing at all.
  21. Here's your 27.0" VSL spacing chart in fractions: 1. 2 61/64 2. 5 9/16 3. 6 49/64 4. 8 63/64 5. 10 61/64 6. 11 27/32 6.5 12 45/64 7. 13 1/2 8. 14 31/32 9. 16 9/32 10. 16 57/64 11. 17 63/64 12. 18 31/32 13. 19 27/64 13.5 19 27/32 14. 20 1/4 15. 20 63/64
  22. I agree that working with millimeters is easier than decimal inches. The WFret calculator can give millimeters, fractional inches or decimal inches, and can give Diatonic, Diatonic with 6+ & 13+ and Chromatic frets and much more. I gave decimal inches to show the minor differences between calculators. We can only cut wood to the nearest millimeter or 1/64" anyway...
  23. Here's the fret spacings for a 27.0" VSL from WFret. Distance from Nut to Fret. No 6+ or 13+ frets. 1. 2.95 2. 5.57 3. 6.77 4. 8.98 5. 10.95 6. 11.85 7. 13.50 8. 14.97 9. 16.29 10. 16.89 11. 17.99 12. 18.97 13. 19.42 14. 20.25 15. 20.99
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