Yes, the life of a dulcimer builder is filled with action and adventure.
This afternoon I made it most of the way through the process of bracing the back of a curly walnut dulcimer. I have no standard pattern for bracing; the number and dimensions of top and back braces depends on the particular dulcimer. This is more a matter of feel than science, but it works for me.
On this particular dulcimer I wanted a fairly massive center brace. On a guitar this would be where the center seam reinforcement strip would go but this is a dulcimer, not a guitar. This brace will strengthen the center seam in the back and will also significantly stiffen the entire dulcimer lengthwise. I sometimes use this kind of center brace when using a very light or thin soundboard.
First the center brace is planed flat on all surfaces.
After planing the brace gets glued to the back. I use a warped board as a clamping caul. By putting the convex side of the warped board face down I can clamp the entire length of the brace with one clamp at either end. Forcing the warped board flat assures plenty of clamping pressure along the entire length of the brace.
The next step is cutting through the center brace to make way for the cross braces. This dulcimer will have two cross braces. I was too busy sawing and chiseling to stop and take a photograph.
Next comes beveling the edges of the center brace with a small plane. You can see the space for one of the braces just ahead of the plane. This photograph was taken just as the work began and there were plenty more curly shaving by the time I was done.
In this last photograph the two cross braces are fitted and ready for gluing.
After the braces are glued they will be shaped to final dimensions and the back will be ready to go on the dulcimer. I won’t forget to put the label in first. I won’t forget to put the label in first. I won’t forget….
Work has been progressing slowly but surely. Dealing with boring back and shoulder issues has slowed me down a bit but dulcimer builders are made of strong stuff.
Having to work more slowly is not all bad. I get to savor each step in making a dulcimer a little more. Last night I was working on the tail-end of a fretboard. I sawed the taper with a dozuki saw and finished shaping and cleaning it up with low-angle block planes.
Though this ramp is a simple part of the dulcimer, making it involved cleanly planing a bubinga fingerboard, a poplar neck, and a zircote end-cap with the grain running crosswise to the fingerboard. Bubinga is very hard and often has grain that is a little resistant to being planed. Poplar is soft and planes effortlessly. The cross-grain piece of zircote at the end would like to stop the plane dead in it’s tracks!
There once was a time when making this little ramp by hand would have made me shiver with fear. Now it is something I look forward too. Maybe I need to get out more?
Layout lines were made and followed by saw cuts. It took about twenty seconds on a fine Japanese waterstone to get the plane blades up to task. Wispy tricolor shavings came off the planes. To get from layout lines to the finished surface took about 15 minutes.
I do have a funky old disc sander in the basement and this entire operation could have taken a loud and dusty minute or so but what would be the fun in that?
In other news, I have 3 dulcimers under way and wood sorted for the next three. I’m also designing a new dulcimer model and will share news of that journey as it develops.
A few days ago I sorted through wood in the attic and found these two boards of curly walnut. They will soon be resawn and eventually become dulcimers.
The mosquitoes in the Greater Lansing, Michigan area are gathering with plans for world domination. Wild turkeys, rabbits, deer, and groundhogs visit our yard. Nights are quiet again now that we are a week or so past the 4th of July and happy Americans have grown bored with setting off fireworks.
I am married to a wonderful woman and grateful to share my life with her. We live indoors. We eat everyday.
Life is good!
While browsing in a used book store a few weeks ago I stumbled across a copy of “World Folk Songs” by Marais & Miranda. I remember listening to one of their records as a child and this song has stayed with me ever since:
Right on the cover the book stated it contained a “Complete Dulcimer Section.” Flipping through the book revealed there were instruction for both building and playing the dulcimer as well as a brief history of the instrument.
Many folk song collections from this era (1964) had basic instructions for playing guitar and this book does as well, but it is the earliest book I know of with this much information on playing the dulcimer, let alone how to build one. The authors knew it was not easy to find a dulcimer at the time so they included rudimentary information for cobbling together a dulcimer of your own.
Well, maybe some ocarinists are freaks, but I am, among other things, an ocarinist, and I am not a freak, though opinions on this do vary.According to the above listing taken from “The American Educator, circa 1919” ocarinas are “classed with musical toys and freaks.”
This statement can be taken a number of ways…
Ocarinists Stand Together! – We Have Nothing To Lose But Our Chains!
I’ll stop now.
The top fingerboard is zircote and the bottom is bubinga. Zircote has many of the qualities of ebony but it is lighter in weight, which in my opinion is a good thing. Zircote also has wild, lacy figure and color streaks I find stunning. I rarely use zircote for fingerboards because it is hard to find quarter-sawn zircote in the dimensions I require. After making this fingerboard I have enough zircote left for one more fingerboard, possibly two if the bandsaw Gods are kind when I resaw it.
The bottom fingerboard is bubinga. Anything quarter-sawn from the rosewood family, including similar woods that are not technically rosewood but close enough, almost always works well as fingerboards, at least for me. If they are well quartered, stiff and relatively light I am happy. In general I am more concerned with the qualities of a piece of wood than it’s species.
The zircote fingerboard will go on a dulcimer with a sassafras top and curly walnut back and sides, the bubinga fingerboard will go on the dulcimer in photograph, quartered oak with some flame figure and a spruce top.
Boring health issues currently keep me from working as much as I prefer, though I am happy and thankful for every moment I can work in what my wife calls “Doug’s playroom.” I love my job.
Two other dulcimers are nearly ready for sale; one in walnut, one in cherry. I’ll be posting them in the next week or so.