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Dusty Strings Hammered Dulcimer 소유자 매뉴얼북

Several of our models use wound strings on some of the bass courses. As

time goes by their tone will begin to dull, as with guitar strings, and they should be

replaced. It's hard to notice the change because it is so gradual, so we recommend

choosing an easily remembered date on which to note whether a year has gone by

with the same wound strings. If so, you should treat yourself to some new ones.

All of these strings can be ordered individually or in spare string kits that contain

at least two of each size of string on your dulcimer (to cover most string breakage

situations).

R E P L

R E P L A A A A A C I N

R E P L

C I N

C I NG B R

C I N

G B R

G B R O K E N S T R I N

G B R

To replace a broken string, turn the string's tuning pin counter-clockwise for

three or four complete revolutions and remove the broken sections of string. This

is important because the tuning pins have fine threads that cause them to descend

further into the pinblock with each turn. Place the loop of the new string over the

string's hitch pin on the other side of the instrument and stretch it across to the

tuning pin, making sure it is sitting in position on top of its main bridge and is

passing through the appropriate hole in the opposite bridge. It is helpful to have

someone hold the loop end down on the hitch pin while positioning and stretching

the new string, but in a pinch you can devise something else to secure it your-

self —try a bulldog-type clip or rubber band.

Before you go any further, take a moment to look closely at an adjacent tuning

pin to see how the string coils neatly down the pin, with no excess wire sticking out

of the hole. This is what you're going to imitate. The neat, tight coils look good

and ensure proper string positioning. Hiding the sharp end of the wire inside the

pin keeps it from puncturing your fingers.

Cut the string with wire snips (or sacrifice a pair of nail clippers), leaving two

inches of extra length past the tuning pin. Put the end of the string inside the hole

in the pin. Hold it there and turn the pin clockwise to form a sharp right-angle

bend. Keep tension on the string as it wraps onto the pin, so that it forms tight

coils down and away from the small starting hole. Make sure the whole string is sitting in

its correct position and is not caught up on any other pins, strings, or bridge pedestals. The pin

should rotate about three times before the string becomes taut. Tune it slowly up

to proper pitch. The whole process will seem awkward at first, but becomes

smooth with practice.

A new string will stretch a bit before stabilizing, so you may need to tune it a

few times in its first hour of service.

R E S

R E S T R I N

R E S

T R I NG I N

T R I N

G I N G T H E W H O L E D U L

G I N

G T H E W H O L E D U L

G T H E W H O L E D U LC I M E R

G T H E W H O L E D U L

Depending on atmospheric conditions, a string set can last a long time,

sometimes even years if there are no wound strings. Wound strings typically get

dull-sounding within a year or so and need periodic replacement (see String

Types, page 4). It is really an issue of personal preference when (or if) you replace

the whole set of strings on your instrument. If they get dark and corroded-

looking, and seem to have lost their "singing" quality, it may be time. You can go to

your local dealer and inquire about re-stringing, or dig into it yourself. It is really

very straightforward, though time-consuming.

O K E N S T R I NG S

O K E N S T R I N

G S

C I M E R

The only important thing to know about this process is that it is best to take off

and replace only one course (two strings) at a time. This allows you to maintain tension on

the instrument, and you can get it back to holding pitch more quickly. Also, you

maintain bridge placement, which protects you from having to fiddle around with

re-setting the treble bridge in its precise fifth-interval tuning placement (see

Tuning Hints on page 14). You can follow the instructions above for how to take

off the old strings and put on the new ones.

If, however, you want to give the soundboard a thorough cleaning as well as

changing the strings, you may want to remove all the strings at once, as well as the

bridges. Make sure you carefully mark the placement of the bridges (we suggest using tape for

this purpose) before you remove all the strings. The bridges are not glued down and will need to be

replaced exactly if the instrument is to be tunable. Before cleaning the soundboard, please

read the section below on your instrument's finish.

S T R I N G B U Z Z E S

S T R I N

If you hear a raspy, buzzing sound when you play your instrument, a string is

probably resting too lightly on a side bridge so that it vibrates against the bridge

when it is struck. If you suspect that this is happening with one of your strings,

press down on the string right next to the tuning pin and strike the string. If the

buzz is gone, you've found the culprit, and you can permanently silence it by

lowering the string so that it makes solid contact with the side bridge. Do this by

loosening the tuning pin about half turn while pushing the string down toward the

pinblock. Hold this position as you re-tighten the tuning pin. This same remedy

may apply to string buzzes on the hitch pin side. In the case of some of the higher,

right-side bass bridge strings, the opposite solution may be required: you might

find places where it seems easier to raise the string on the tuning pin and com-

pletely eliminate contact with the side bridge. This works only because the string

sections to the right of the bass bridge are not used for playing.

F I N I S H

Depending on which model you've chosen, your instrument is finished with

either black or clear semi-gloss lacquer. In both cases, caring for the finish

requires nothing more than a gentle wipe-down with a soft cloth, lightly damp-

ened with glass cleaner to remove fingerprints. Using instrument or furniture

polish or oils is not necessary or recommended. They are hard to wipe off

adequately, tend to attract and hold dust and grime, and can interfere with lacquer

bonding if you ever want finish repair work done in the future. It is better to just

keep your hammered dulcimer dust-free using a feather duster and a 2" or 3" soft-

bristle paintbrush, which works especially well for getting dust out from between

the hitch and tuning pins.

The soundboard can be cleaned with a sock stuck over the end of a yardstick.

Compressed air is also effective if the dust is loosened first with one of these

other tools. If your instrument is out of its case for long periods, a dust cover

made of soft fabric will help keep it clean. For long-lasting beauty, the best thing

you can do is keep the instrument dusted. Accumulated dust attracts and holds

moisture and oils and eventually becomes very hard to remove.

G B U Z Z E S