Musicmaker’s Kits 17/16 User manual

17/16 Cedar
Hammered Dulcimer kit
Musicmaker’s Kits
P.O. Box 2117
Stillwater MN 55082
[phone] [email protected]

10/3/2006
2
17/16 SIZE
CEDAR HAMMERED DULCIMER KIT
Parts List:
a) 1 back (1/4" plywood)
b) 1 soundboard/top (cedar)
c) 2 pinblocks (laminated maple)
d) 1 long front rail (laminated maple)
e) 1 shorter back rail (lam. maple)
f) 2 inner braces (hardwood)
g) 2 bridges (maple)
h) 1 tone bar (hardwood)
i) 1 bridge support brace
Hardware:
2 black delrin rods (21" each)
2 brass tubes, 3/8" dia (21" each)
66 tuning pins
33 rh 1" wood screws (hitch pins)
Music wire
♦20 ft of .016" diameter
♦50 ft of .018" “
♦50 ft of .020" “
♦100 ft of .022" “
1 tuning wrench
4 wood screws, 1-1/4"
4 maple plugs, 3/8" dia
1 drill bit, 3/16"
1 drill bit, 9/64"
1 pair playing hammers
1 assembly instructions &
tuning chart on transparency
BEFORE YOU BEGIN
Please take the time to check over the parts of our kit now, to make sure everything is there. If you
discover a problem, call us right away so we can rectify it quickly without causing you much delay
in your project. We also suggest skimming through the entire directions before beginning, just to
get an overview of the project. You may decide that you need to gather more tools or purchase a few
optional decorations or accessories to enhance the finished instrument. Now is a good time to
decide so you can avoid delays when you reach those steps of construction.

10/3/2006
3
ASSEMBLY INSTRUCTIONS
THE FRAME
_____1. Test fit the four frame parts together (two pinblocks and long and short rails)
without glue to see how they fit. The two rails should be pre-drilled with a 3/8"
countersink for the wood screws. Make sure these countersunk holes face outward.
Position the frame pieces on top of the Back panel and check to see that the
corner joints fit tightly. Make minor adjustments to the ends of the rail pieces if
necessary.
ANOTE ABOUT GLUE
DO NOT ASSEMBLE THIS PROJECT WITH EPOXY OR SUPERGLUE OR HOT MELT GLUE!
Find a good woodworking glue. Many luthiers (guitar & violin makers) still use the natural hide glues that
have been around for centuries, carrying on a fine old tradition, but that does not mean that you must do the
same. We build this instrument with modern woodworking adhesives (such as Elmer's Carpenter's Wood
Glue or Titebond) because they hold the parts even more securely than the old hide glues. The few
advantages that some people claim with hide glue are more than offset by the strength, durability, ease of
application, and availability of the modern woodworking adhesives.
When gluing parts together, be sure to put enough glue on the joint to wet the entire surfaces to be joined. A
good sign of proper gluing is that a little excess will squeeze out around the joint when clamping pressure is
applied. Too little glue may cause the parts to separate later, whereas too much glue makes things messy.
We always keep a damp rag handy for quick cleanup, as necessary. It is especially helpful to keep your
fingers clean while gluing, because gluey fingerprints have the embarrassing tendency to appear on the
finished product in places you never expected. Most woodworking adhesives "set" sufficiently after 30
minutes of clamping to allow you to proceed. Check your dispenser for recommended drying times.
PRELIMINARY CAUTION
BE VERY CAREFUL WHEN HANDLING THE CEDAR SOUNDBOARD IN THIS KIT. IT IS
VERY SOFT AND SUSCEPTIBLE TO DENTS AND SCRATCHES. STORE IT IN A SAFE
PLACE UNTIL YOU ARE READY TO GLUE IT IN PLACE.

10/3/2006
4
_____2. Use a 7/64" drill bit (not provided) to drill a pilot
hole into each end of the pinblocks to make it easier to
screw the rails to the pinblocks. Drill through the holes
already located in the RAILS, making sure the parts are
perfectly aligned as you drill. Note the slight angle of
the holes -- that will help pull the joints tightly together.
_____3. It is also a good idea to open up the holes in the
RAILS so the screws slip through easily. Use the 9/64”
bit provided to make the holes larger in the RAILS only,
not the pilot holes you just drilled in the PINBLOCKS.
When pilot holes are drilled, and you are satisfied with
the fit of the parts, go ahead and assemble them
permanently with glue and screws. The screws serve as
clamps to draw the parts together, but the real strength lies in the glue joint. Use enough
glue so that some of it squeezes out of the joint when the parts are drawn together (put wax
paper under each corner so as to avoid gluing the frame to your work table).
IMPORTANT: Hold the frame over the BACK PANEL to make sure it is symmetrical and fits
properly on the BACK. Force the joints into symmetry, if necessary, before the glue dries.
THE BACK
_____4. Find yourself a good collection of c-clamps or heavy weights (cement blocks or
bricks). It pays to be prepared for this gluing step, as the strength of your hammered
dulcimer depends on how firmly you glue it together! The back forms a critical part of the
structure of this instrument, so take care to clamp it well all the way around the frame.
NOTE: look carefully at all the joints of the dulcimer frame, and clean up any glue blobs that
would interfere with a good fit of the back. Also smooth out any
unevenness of wood at the joints.
When you are satisfied
with the fit, go ahead and glue the back to the frame, using plenty of clamps and/or
weights to hold the parts together.
CAUTION
The BACK piece has a
good face and a bad
one. We have
punched little marks
into the bad face
when trimming the
wood to match our
pattern. You’ll want
to have that face on
the inside of the
instrument so you
won’t see those
punch marks on the
finished instrument.

10/3/2006
5
INNER BRACING
_____5. The two INNER BRACES are cut with a slope at each end. The function of
these braces is simply to support the TONE BAR, which, in turn, supports the middle
of the SOUNDBOARD. These BRACES do not need to touch the PINBLOCKS. Measure
the distance shown from the long FRONT RAIL to determine the proper placement,
then glue them to the BACK, using heavy weights and/or clamps until dry.
_____6. When the INNER BRACES are dry, position the TONE BAR on top of them.
Orient it at an angle to the centerline of the instrument, as shown. The TONE BAR
should overhang the two BRACES equally. Mark its position on the BRACES so you
can glue it down accurately with weights or clamps holding it until dry.
_____7. One
more BRIDGE
SUPPORT is
needed for the
internal
bracing. This
block should
glued to the
BACK and the
REAR RAIL, as
shown, so it
stands the
same height as
the PINBLOCKS.

10/3/2006
6
THE SOUNDBOARD
_____7. While waiting for the frame to dry, you can work on the soundboard, taking
care not to dent or scratch it.
There are two punch marks in the middle of the SOUNDBOARD that show the
correct location for the center of the soundholes (they are centered between the
bridges). The size and shape may vary to suit your design ideas, but please do not
make holes that are larger than 3" in any direction, as that will weaken the
soundboard too much.
Our MUSICMAKER'S catalog shows a number of decorative laser-cut rosettes
that look nice on a hammered dulcimer. We usually cut holes of 2-1/8" diameter,
and then glue a medium size rosette (2-3/8" dia) over the top of the hole. No need to
inlay them flush with the soundboard - the rosettes will not interfere with the
strings.
If you have a large (2" diameter or more) forstner drill bit or a hole saw, you can
bore very nice soundholes with that, as long as it is sharp, but do not attempt to drill
with a spade bit or any bit that is not perfectly sharp, as the soft cedar will crumble
and split when abused.
If you do dent the top of the soundboard, you can restore the surface by steaming the
wood to swell the fibers back into place. Drip some water onto the dent, and then lay
a wet cloth over the dent and use a household iron and to steam the damaged
portion. Repeat if necessary. Allow the wood to dry before sanding the area.

10/3/2006
7
____8. When the soundholes are done, and the dulcimer box is dry, you can test fit
the two together. Please note that the SOUNDBOARD, like the BACK, is cut slightly
oversize, just to make sure it covers the entire frame. Try to position it evenly,
however, because the locations of the tuning pins and hitch pins are already marked
on the wood for you. The goal is to have equal overhang all around the frame.
Check for dried glue blobs or uneven surfaces that might interfere with a good fit of
the SOUNDBOARD on the dulcimer frame. When satisfied with the fit, glue the
SOUNDBOARD to the frame and the TONE BAR, using plenty of clamps and/or weights to
ensure complete contact all the way around the instrument. Look for glue squeezing out as a
sign of good contact.
Pad the jaws of your clamps with wood
blocks to prevent damage to the soft
cedar top. If you are a little short on
clamps, lay long pieces of stiff wood
around the perimeter of the box and
fasten your clamps down against them to
distribute the pressure.
CUSTOM SOUNDHOLES
If you would rather design your own soundholes, this is a good place to be creative,
making your instrument unique. We have tried a number of different sizes and shapes of
holes, and they all work fine.
Draw out your ideas on paper first, then cut them out and try positioning them on the
soundboard to see how they would look. Transfer the design to the wood with carbon paper,
and use a FINE TOOTH jigsaw blade when cutting the wood. Further decoration can be done
with wood overlay of a contrasting color, or with decorative binding around the edges of the
hole, or hand painting, stenciling, heat transfer designs, etc.
Now is a good time to sign
your name to your
instrument. Put your
signature, date, location, and
any message you have for
posterity on the inside of the
back where it can be seen
through one of the
soundholes.
POINT OF INTEREST
Some people ask about finishing the inside of the
soundchamber. We do not recommend trying it. Guitars
and violins are not finished on the inside, so this
instrument need not be sealed on the inside either. We
understand people’s concern about the effects of humidity
on the wood, but even the best varnish or lacquer does not
hermetically seal the wood. It blocks spilled milk from
soaking in, but it does not prevent the wood from
“breathing” moisture vapor from the surrounding air.

10/3/2006
8
TRIMMING & SANDING
_____9. Once the box is dry, you need to
trim away the excess wood from the
SOUNDBOARD and the BACK. One easy
way to accomplish this is with a belt
sander. This tool will also even out the
corners of the PINBLOCKS that may
protrude slightly beyond the RAILS.
If you use a router for this
trimming operation, use a very sharp
carbide bit and move the router fairly
slowly to avoid problems. We usually
work the router in the reverse direction
than normal, i.e. in the same direction as
the spin of the bit. That helps prevent
tear-out. We have seen soft
SOUNDBOARDS get chipped by cutting
too quickly. Also, take care to avoid
letting the bit “fall” into the open slots in
the FRONT RAIL. A good way to prevent
this is to clamp a small guide fence to the
router base, as shown.
Those who are unmotorized can achieve good safe results by hand with coarse
sandpaper wrapped around a scrap of 2 X 4 wood, although it will take a considerable
amount of “elbow grease”.
_____10. Fill the countersunk screw holes in the front
and rear RAILS by gluing the four maple plugs into the
holes.
_____11. Sand the wood plugs flush with the surface of
the RAILS so that you remove all ridges and all glue
residue that is showing.
_____12. Round over all sharp edges of the dulcimer box
so they feel smooth to your hand. Again, a router with a
1/4" rounding over bit makes this job simple, but you can
do the job well with a sanding block, working by hand.
Follow up with medium sandpaper to remove the
scratches left by the coarse block.
CAUTION: CHECK YOUR ROUTER BASE
AND WORK TABLE FOR ANY FOREIGN
MATTER THAT MIGHT SCRATCH UP YOUR
HANDIWORK. WE RECOMMEND COVERING
YOUR WORK TABLE WITH AN OLD TOWEL
OR A CARPET SCRAP FOR PADDING. THEN
YOU PLACE THE DULCIMER ON IT WITHOUT
WORRYING ABOUT SCRATCHES.

10/3/2006
9
DRILLING FOR HARDWARE
_____13. Now you can drill the holes for the tuning pins and hitch pins. A drill press
would be helpful on this step, but not absolutely necessary. You can achieve good
results with a hand electric drill, if you work carefully. Try your best to hold the drill
straight (vertical) as you work. Wrap a piece of masking tape around the drill bit to
mark the correct depth.
HITCH PIN HOLES:
Drill the 33 hitch pin holes in the center row of
punch-marks on each side of the top (17 on one side and 16 on
the other) using a 9/64” drill bit, boring ONE INCH deep.
TUNING PIN HOLES:
Drill the 66 tuning pin holes one the two outer rows of punch-
marks on each side of the top (34 on one side and 32 on the other)
using the 3/16” drill bit provided in this kit, boring ONE AND A
QUARTER INCHES deep. (you do not want the tuning pin to
reach the bottom of the hole).
POINT OF INTEREST
Some people ask about using different HITCH PINS than the round-head screws provided with
this kit. You can make that exchange if you wish, but here are the reasons we like the screws:
a) You can drill straight (vertical) holes for the screws -- no need for tilting your drill;
b) Some people find stringing to be particularly frustrating. When handling the continuous
music wire, the head of the screw is very handy for keeping the wire from jumping off
the pin as you string the instrument;
c) If you happen to chip the cedar a little with your drill bit, the head of the screw helps
hide your boo-boo.
If you decide you’d rather have plain HITCH PINS, then check the pin diameter before selecting
the drill bit, and make sure to tilt your drill about 10-15 degrees away from the center of the
instrument so the strings won’t slide off the tops of the pins.

10/3/2006
10
Hardware
2 black delrin rods (21" each)
2 brass tubes, 3/8" dia (21" each)
66 tuning pins
33 round head wood screws (hitch pins)
Music wire: 20 ft of .016" dia, 50 ft of .018" dia, 50 ft of .020" dia, 100 ft of .022"
SANDING & FINISHING
_____1. Sand the entire box to smooth out the surfaces and round over the edges so
they feel good to your hand. Use medium (150-180 grit) sandpaper, working with the
grain so you don't scratch the surface.
Carefully check all the joints and glue seams to remove any glue residue that might
remain visible, as that will show up as ugly smudges under the finish.
_____2. Sand the maple BRIDGES to remove any burrs or rough spots.
IF YOU PURCHASED OUR PARTIALLY ASSEMBLED KIT
Breath a sigh of relief for the work you’ve avoided, and check over the hardware parts of
your kit now, to make sure everything is included. If you discover a problem, call us
right away so we can rectify it quickly without causing you much delay in your project.
We also suggest skimming through the entire directions before beginning, just to get an
overview of the project. You may decide to purchase a few optional decorations or
accessories to enhance the finished instrument.
1 tuning wrench
1 pair playing hammers
1 set assembly instructions & tuning chart
PRELIMINARY CAUTION
BE VERY CAREFUL WHEN HANDLING THE CEDAR TOP (SOUNDBOARD) ON THIS
KIT. IT IS VERY SOFT AND SUSCEPTIBLE TO DENTS AND SCRATCHES. WE
RECOMMEND PLACING A TOWEL OR CARPET SCRAP ON YOUR WORK TABLE FOR
PADDING. THEN YOU WON'T NEED TO WORRY WHEN YOU TURN THE BOX UPSIDE
DOWN OR SLIDE IT AROUND ON YOUR WORKBENCH.
OPTIONAL DECORATING
We offer several designs of decorative laser-cut rosettes that can be glued directly over the
soundholes on your instrument for that added touch of class. Check our MUSICMAKER’S
CATALOG for designs, and select a MEDIUM size to fit the holes we have drilled for you. It
will be easiest to glue these in place before finishing, using standard woodworking glue. If
you try to attach them later, you’ll need to use an adhesive such as epoxy or superglue that
will stick to a finished surface.
POINT OF INTEREST
The bridges in this kit have been cut by laser beam. This gives us perfect accuracy and it avoids the
problem of splitting that often occurs when using a drill bit on such thin material. The dark area
inside each hole is actually charred wood from the laser beam. We like to leave it dark, finishing it
without sanding that area -- it looks very sharp on the finished instrument.