Doug Berch

Dulcimer Maker And Musician

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What’s On The Bench – August 5th, 2018

Fingerboards for two custom dulcimers.

On the bench are two dulcimer fretboards in cherry.

The one on the left has had the strum hollow cut and refined and the location of the position markers laid out. It also has an ebony end cap in place.  An inset of Spanish cedar is inlaid in the fingerboard just ahead of where a bridge/pickup will go. I find using a softer wood or shim ahead of this type of pickup makes the amplified sound more natural. This fretboard is chromatic up to the 7th fret/first octave and diatonic the rest of the way.

The other fingerboard is fully chromatic. The layout lines for the strum hollow are in place and this one will also have position markers and an ebony end cap

On the right is the glue pot that keeps hide glue warm and happy. The Erlenmeyer flask holds water for adding to the glue as necessary. I picked up the Erlenmeyer flask at a salvage sale because I thought it would be more difficult to knock over than the glass jar I previously used. This has indeed been the case but I still manage to knock it over now and then.

What’s On The Bench – 11/20/2017

Slotting an ebony dulcimer fingerboard.

On my calendar was recovery from back surgery this past week but there was a change of plans; a dental issue came up and surgery was postponed. Instead I am taking antibiotics and will have minor dental surgery in a week or so. The back surgery will probably be within a month or so after that.

Let it not be said that I don’t know how to have a good time!

I’m a firm believer that what is happening is happening and what is not happening is not happening so I am rolling with it.

In the meantime I am up to my usual tricks and getting some work done in the shop.

In the photograph above is a simple setup for cutting fret slots. The miter box is made from scraps of MDF and the depth stop on the saw is a strip of wood held in place with three colorful spring clamps.  The wooden cam clamps hold the miter box to the work-board and holds the fretboard in place while sawing.

This  low-tech setup works remarkably well.

I have templates for fret patterns I commonly use. The templates eliminate calculating and measuring out the fret positions.

This fingerboard is for a custom chromatic dulcimer with a scale length I have not used before; 743 centimeters! That is a very long string length but is what the person who will be playing this dulcimer prefers.

Since I didn’t have a template for this scale length I had to calculate the fret positions and lay them out on the fingerboard. Fortunately, there is software that does the math. In the 1970’s I had to spend a long time with a calculator to work out fret positions. The constant often used to calculate an equal tempered fretboard, 17.81715385, is still permanently installed in my memory.

I laid out the fret positions using a very accurate ruler, machinist’s square, sharp knife, and patience. I triple checked the measurements before sawing the slots.

Sawing the slots with the miter box was the fun part.



You Say Dulcimer Fretboard, I Say Dulcimer Fingerboard

Adventures of a dulcimer builderA dulcimer doesn’t have a neck but it has something under the fingerboard that sort of serves as a neck. Calling it a neck doesn’t really make sense but when the dulcimer has a fingerboard on top of the object that shall not be called a neck then appropriate terminology becomes even more confusing.

For no particular reason I refer to the lower portion of the assembly as the fretboard and call the fingerboard overlay the fingerboard. When describing a fretboard with a fingerboard on it I refer to the assembled unit as a fretboard.

In the photograph above I’m gluing the fretboard assembly to a dulcimer soundboard.

The soundboard is clamped to a flat workboard. Two clamps come in from the sides holding scraps of wood that rest against the sides of the fretboard at either end. This makes it easy to accurately place the fretboard in the right spot and helps prevent it from moving while I apply the clamps.

I use an old trick to clamp the full length of the fretboard down using only two clamps. A long, warped piece of wood is used as a clamping caul with the concave side facing down along the length of the fretboard.  When I clamp both ends down the flattening of the warped wood exerts pressure along the entire length of the fretboard.

You can follow more of my my action-packed adventures as a dulcimer maker by following me on Instagram.

My Acoustic High-Precision Thickness Planer

My Acoustic High-Precision Thickness Planer

Nothing original here, just an old trick that makes quick, quiet work of squaring and evenly thicknessing wood.

A few drops of super glue temporarily hold two wood runners to the bottom of a plane, in this case a Stanley #5 1/4 for those who care about such details. The plane can not take off wood below the height of the runners so repeatedly planing wood to the same height becomes easy. The top and bottom of the workpiece will also be parallel.

In the photograph I’m planing spruce brace stock for dulcimer backs. The rough brace sits on my planing beam; a flat and straight beam of oak with a bench stop at one end. I use this planing beam when truing and jointing fretboards and fingerboards, thinning bindings, and brace stock. I also use the planing beam as a caul when gluing fingerboards to fretboards.

Yes, it is a fascinating life I lead.


What’s On The Bench – Filing Frets

Dulcimer Fretwork

In the photograph above are some of the tools I use when filing frets after they are installed on a dulcimer.

On this dulcimer the ends of the frets have already been filed flush with the sides of the fingerboard. The next step is to assure there are no high or low frets as these are one of the causes of buzzing and other annoyances.

I draw a line along the top of the frets with a marker and lightly file the tops with the flat, fine diamond sharpening stone. When the lines from the marker are gone I know the tops of all the frets are level.

I choose the color of the marker based on the dulcimer’s aura. This one needed blue. Only kidding. Or am I?

The tops of frets need to be round and define a singular point of contact when the string is pressed down behind it. I mark this point by again drawing a line with the marker along the crowns of the frets. I use the triangular file to file the sides of each fret so it slopes towards the line until there is barely a hint of the line left. The corners of the file have had the teeth ground off to help avoid gouging the fingerboard. The metal shield placed around the fret I am working on also helps.

The small metal square is one of several in different sizes I use as straight edges to assure the tops of the frets are still level as work progresses.

The block of wood with a file embedded in it at an angle is used to bevel the ends of the frets. The small, skinny file with the orange handle is used to deburr the corners of the frets at the edge of the fingerboard. The same file is use to round the end of the frets. Skipping this step usually results in blood loss for the player; the ends of the frets become sharp after filing.

After completing all the above the crowns of the frets are further rounded and polished with fine sandpaper, steel wool, and then buffed until they shine.

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Doug Berch & Dulcimer Makers