The "Fiddle" Dulcimore

The Fiddle Dulcimore took me a while to figure out, I think I got it! With the 26 inch VSL you have your choice of nut and bridge material. Wooden tuners in an open bottom peg box for ease of tuning and restring. The piece sports a button scroll.
Prices start at just $500 shipped to your door in a hand crafted wooden shipping crate USPS Priority insured. All Poplar with your choice of Rosewood or Ebony tuners, shellac or oil finish!

dulcimoredan@gmail.comCustomization; let me know what traditional aspects you want and I can make it. I make Traditional Appalachian Dulcimore!

The "ulta-lite"

28 inch Vibrating String Length Once the Betty design was complete, I wondered about the string length being less than the Kentucky standard; about 28.5 inches. Understanding the weight to mass ratio, I began a study to determine the dimensions of a 28 inch piece. Elongating the piece required narrowing it and removing as much material as possible and the ultra-lite was born! The very narrow waist is reminiscent of the Thomas pieces. It is difficult if not impossible to make a traditional Appalachian piece without picking up some aspect of his work! It did after all change very little in some sixty years.Although a very different approach to the traditional sound as the Betty, it simple fulfills a different tonal dimension. The 28 inch VSL is best tuned somewhere around (C), where as the Betty’s 26 inch VSL is better suited up around a (d) or even (e). Not that either can be tuned higher or lower but they have sweet spots dependent on their dynamics.Prices start at just $300 shipped t…


26 inch Vibrating String LengthWhen I first started this dulcimore adventure I asked myself, what makes the dulcimore sound like a dulcimore? I read all the books I could find about traditional pieces and those that had measurements I used to make a spread sheet with the sound box dimensions. The median measurements are what I extracted for the “Betty”.Of course there is more to the dulcimore timber than dimension; poplar was the wood of choice for makers Prichard and Thomas. Placement of the nut and bridge over the very ends of the sound box and three feet to set it off the table top for play are equally important. The use of wooden friction tuners and music wire strings and most importantly, the ratio of weight to mass of the strings to the instrument!The peg head I designed is simple. It has a ball end to reflect the circle sound holes which are lunar.  The tail piece is Thomas “esk”, I’m especially fond of the wide staple the strings break against to protect the wood. Staple frets…

It is called a “bridge”!

Once again I’m confronted by folks injecting another area of operations’ nomenclature into a field that has been well established for more than four hundred years.   The same item can have more than one name.   Because you call it by a given name in your area of expertise doesn’t negate another areas nomenclature. It’s not wrong, but different. Names can vary from one area of expertise  to another as well as from one region to another.  I have been informed I “talk funny” by someone with an accent in my belief much harder than mine! I have been “corrected “ for using terms in my region by folks from another region. I’ve been called out by folks for using another term for the same item in another field of expertise. (I wasn’t correcting any one, just simple communicating.)   I guess I’ve yet to understand why folks feel the need to “correct” others…