On the bench are three planes that have been getting quite the workout lately. They started complaining that they were overdue for a sharpening. I have come to trust their feedback so I took them seriously. Here they are minus their blades. They feel empty and lonely without their blades but this situation will not last long.
I move a few things around and the workbench becomes a sharpening station. If I still subscribed to woodworking magazines I would know I am supposed to have a dedicated sharpening station with running water and a bidet. I do the best I can with what I have. It works just fine.
When I turned my head for a moment a stinkbug decided to visit the stone in the center. I turned my head again and the stinkbug was gone. Few know that stinkbugs have developed teleportation. Now you too are among the few who know this.
After honing the blades on the stones they each get a few strokes on a strop and are once again ready to rejoin their planes. Everyone is happy. I assume the stinkbug is happy too.
Dulcimer #24 is the only dulcimer I have in my possession from the first phase of my life as a dulcimer maker. The dulcimer made its way back to me a few years ago and has spent most of its time hanging on the wall since its return.
I began making dulcimers on the kitchen table when I was 17. My mother was thrilled.
I continued making dulcimers in several places I called home until I moved to Boulder, Colorado in January of 1984. For various reasons I felt I had to focus on either performing or lutherie and I put instrument making aside for about 25 years. I always missed it.
I took dulcimer #24 off the wall today and studied it. The dulcimer is dated 1979/1980 so I was 21 when I started making it and probably 22 when it was finished. If I remember correctly I moved 3 times while building it!
I used variations of this body shape and peghead design for a few years.
The slice of a black walnut inlaid in ebony on the peghead was a signature until I started using flat pegheads and couldn’t find a place to inlay the walnut. I think there are a few dulcimers out there that have the walnut inlaid in the strum hollow after I switched to flat pegheads.
This dulcimer might be the second one I made that has binding and probably the only one that has a bound fingerboard.
The soundholes on the lower bout came from the center portion of a lute rose I found in a book. I used these soundholes on several instruments. Aside from the looks I chose to do a soundhole with multiple piercings to help keep the soundboard stiff. It seemed like a good idea at the time. In retrospect it was a lot of work and acoustically unnecessary.
The soundholes on the upper bout made their way onto quite a few dulcimers.
The body is straight and narrow between the nut and the first fret. I had a reason for doing this but can’t remember what it was. I’m sure it seemed important at the time.
The top, back, sides, and peghead are made of walnut and the fingerboard is Brazilian rosewood. I had not yet begun to resaw wood myself and the walnut and rosewood most likely came from Gurian Guitars or Luthier’s Mercantile. For some reason I used a piece of maple for the endcap over the tail block. I have no idea why.
The position markers at the 7th fret reflect the shape of the upper soundholes. I didn’t do the greatest job cutting and filing the pearl to shape and the curves are a little off. I remember I hated cutting pearl; I still do, but would do a much better job if I ever chose to do it again. I used the word “do” 3 times in that last sentence; just thought I’d mention it.
To my much-older eyes the body shape looks bulky. The workmanship is a little on the rough side but by “dulcimer standards” of the day it was actually pretty good. My sharpening skills were not well honed in those days (sorry for the pun) and it shows in the dulcimer. I was also young, a bit impulsive, and didn’t take as much time with details as I do now.
The dulcimer is finished with Danish oil and it has held up well.
The 1st and 2nd strings sound surprisingly good to my ear. The bass string sounds brighter than I would prefer and is most likely due to the soundboard being a little too thick. I can’t remember what I did for bracing and haven’t looked inside with a mirror. I imagine there is more bracing on the soundboard than necessary. I was into that for a while.
I’m thinking of refining and reviving the peghead design. I always liked it. I’ve thought of working up a model with a different body shape and I may include the straight area between the peghead joint and the first fret.
As I gain more experience with tools I find myself needing fewer tools.
In the past I used this knife for repair work. It is long, thin, and has a slight taper in thickness. With a little heat, moisture, and this knife I can take the back off of a dulcimer, etc.
I have seen this style of knife referred to as a both a shoe knife and a rubber knife. I suppose that makes it perfect for cutting rubber shoes.
A week or so ago I was sharpening everything in sight and as part of the fun I honed the edge of this knife and stropped it. I had forgotten how fine an edge it can take.
I have found myself reaching for this knife and I keep finding more uses for it. This evening I used it to cut linings to length before gluing them into a dulcimer. I used to reach for a chisel to do this but this knife works better. I have also used this knife to score straight lines for sawing sides to length, cleaning up the fuzz sometimes left on the edges of softwood parts, and a variety of trimming and shaping tasks where I might have used a chisel, saw or block plane.