Musicmakers BALLAD HARP KIT User manual

BALLAD HARP KIT
Assembly Instructions
Musicmakers
14525 61st ST CT N
Stillwater, MN 55082
Updated February 2021
WOOD PARTS
A. Soundboard, Aircraft Birch
B. Back Panel
C. (2) Sides
D. (4) Long Trim Strips, Sides
E. Short Trim Strip, Back
F. Short Trim Strip, Front (Drilled)
G. Inner Reinforcement Bar
H. Pillar
I. Pre-drilled Neck
J. (2) Feet
K. Top Block
L. Arched Cap Block
M. Inner Brace
N. Base Reinforcement
O. Base Block
HARDWARE
Scrap Soundboard Piece
(34) Threaded Harp Tuning Pins
Brass Driver for Tuning Pins
(10) Threaded Bridge Pins, Large
Allen wrench, 3/32”
(24) Threaded Bridge Pins, medium
Allen Wrench, 5/64”
(24) Medium Brass Eyelets, 1/8”
(10) Jumbo Brass Eyelets, 3/16”
(2) #14 X 2” Wood Screws, Square Drive
#3 Square Drive Bit
(8) Wood Screws, 1-1/4”
(14) Wood Screws, 1-5/8”
(3) Wood Screw, 2”
Wood Dowel, 3/8” x 2”
(2) Maple Wood Plugs, 3/8” dia.
Maple Wood Plug, 1/2” dia.
Harp Medallion, 3/4” dia.
(3) Drill bits (1/8”, 7/64”, 3/16”)
(2 oz) Wire Nails, 17 guage, 3/4” long
(4) Rubber Bumpers
(4) Screws for Bumpers, #6 x 3/4”
Tuning Wrench
Set of 34 Harp Strings
Spacing Guide for Bridge Pins
Assembly Instructions
A
BCD
E
I
F
G
J
H
K
L
M
NO

651-439-91202
www.harpkit.com
We strongly recommend that you use a common woodworking glue like Elmer’s
Carpenter’s Wood Glue or Titebond because they hold the parts more securely than
most other adhesives, and they are inexpensive and easy to use. DO NOT assemble the
wood parts of this project with 5-minute epoxy or super-glue or hot melt glue. The
yellow colored Elmer’s or Titebond is best.
651-439-9120
[email protected]
TIPS TO MAKE THIS A SUCCESSFUL PROJECT
Inventory and inspect all your parts carefully. If anything is
missing or defective, please call or email us right away.
_____A.
_____B.
_____C.
Read through the entire assembly instructions before you
start, just to get an overview of the project. This will also
help give you an idea of what tools you will want handy
to complete the project. We highly recommend having an
orbital sander to complete this project. It will help cut down
on a lot of sanding time.
Take your time and enjoy the process. Building a musical instrument is an experience
to be savored, not a race to be won.
If you make a mistake somehwere along the way - please don’t worry about it. Every
mistake can be fixed and the majority of mistakes won’t be noticeable by anybody
butyou.
pPay special attention to notes in these boxes. These notes highlight crucial aspects of
the build or steps that, done incorrectly, can really mess up your project.
A NOTE ABOUT GLUE
We also recommend checking off each step in the directions as you finish it. You might
be skipping forward to another part of the assembly while waiting for something to dry,
and it helps to keep track of where you left off.
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.
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 prominent
places.

651-439-91203
www.harpkit.com
ASSEMBLE THE FRAME
____1. Clamp the harp sides to your bench. This will
help prevent the sides from sliding around
during the assembly process. (fig. 1)
(This may seem like an odd way to start, but
it really helps to hold both side pieces firmly
when drilling pilot holes for the screws. We sug-
gest reading through step 5 to understand how
the parts will go together.)
____2. Dry fit the base block and inner top block to to
each side ensure a good fit. (fig. 2) You’ll need to
check the fit on one side and then flip the part
over to check the other side.
If the pieces aren’t perfect, you can adjust them
with a hand plane or sanding block. It’s easier to
remove the excess BEFORE the parts are glued
in place. You can remove the excess by using a
sanding block, hand plane, or power sander.
(fig. 3)
No
Gaps
FIG. 1
FIG. 2
FIG. 3
____3. Drill three, 7/64” pilot holes in both sides for
the base block screws, as well as 2 pilot holes in
both sides for the top block screws. (fig 4)
Be sure to tilt the drill bit to drill parallel to
the plane of the sides. If you drill the holes
straight down, you might split the wood of
the sides.
FIG. 4

651-439-91204
www.harpkit.com
____5. Flip the harp over so that the glued side is on
top. Use the top block to help balance the sides
together. Align the base block, and insert the
screws for the remaining side. (fig. 8) After the
base block is attached, insert the remaining
screws for the top block. Make sure to clean up
any excess glue.
FIG. 6
FIG. 7
FIG. 8
FIG. 9
Place the frame on your bench so that the front
is facing up. (fig. 9) The front is both longer and
wider than the back.
Find and check the fit of the inner brace. Orient
the brace so that the taper matches the taper of
the sides. Be sure that the ends of the brace set
flush with the edges of both the front and back.
____6.
NOTE: Sometimes the brace is not the cor-
rect length to fit between the sides. This can be
caused by poor cutting on our part, but more
likely the sides have bowed a little from humid-
ity changes after we prepared them. You can
check that with a straight-edge and push or pull
the sides into alignment as you glue the brace
in place. If a brace is simply too short, howev-
er, you can shim the space with a thin scrap of
wood. If too long, use a disk sander to remove
a small amount without changing the angle or
rounding the end. If the brace is too thick to
slide into the dado, you can sand it a little at a
time with an orbital sander.
This brace serves two purposes:
1.) to straighten the sides during assembly and
2.) to keep the body of the harp from
deforming later under string tension.
____4. Apply glue to the sides where the base block
connects, as well as where the top block con-
nects. (figs. 5, 6)
Insert 1-5/8” wood screws to connect one side
to the base block. (fig. 7) Make sure to clean up
the excess glue as you connect the sides to the
both the top and bottom blocks. Insert screws
to connect the top block on the same side as you
did the base block.
FIG. 5

651-439-91205
www.harpkit.com
____7. Apply glue and clamps. Please note the various
methods of clamping. Taping scrapwood to the
outside will make it easier to apply the bungee
cord. Choose the method that works the best
for you. Orient the clamp where the brace is
located. Be sure to clean up excess glue drips
that might interfere with installation of the
front and back panels. Practice fitting pieces
together without glue. (figs. 10, 11)
Fig. 10 shows the use of f-clamps (aka. bar or
pipe clamps) and scrap wood (e.g., 2x4s) to
help distribute pressure along the length of the
sides.
Fig. 11 shows the use of elastic/bungee cord,
along with 2x4s.
FIG. 10
FIG. 11
FIG. 12
PREPARING THE SOUNDBOARD
Take note that the soundboard is punch marked
on the outside surface (front) of the board.
Using a hand drill or drill press, drill the lowest
and highest punch marks with a 1/8” drill bit.
These holes will act as a guide for the reinforce-
ment strip. Perform the drilling on a work-
board to prevent the wood from tearing out on
the soundboard. Be sure to hold the drill per-
pendicular to the soundboard. (fig. 12)
____8.
Workboard
Flip the soundboard so the inside faces up. Connect the holes with a straight edge and mark
with a pencil. This line will act as a reference for gluing the reinforcement bar. Dry fit the rein-
forcement bar and trace around each end with a pencil on the inside of the soundboard. Be
sure that the reinforcement bar covers the highest hole. (figs. 13, 14 - next page)
____9.

651-439-91206
www.harpkit.com
____10. Gather weights and clamps for pressing the
reinforcement bar and dry fit the reinforce-
ment bar with the clamps as well.
Apply glue along the length of the reinforce-
ment bar and tape on both ends to prevent
slippage once the weights or clamps are add-
ed.(fig.15)
CAUTION: Double check that you are not
gluing the reinforcement bar over the punch
holes!!
Then you can add the weights or clamps. Make
sure that you are continuing to utilize your
workboard, as it helps keep the soundboard
and reinforcement bar flat during the clamp-
ing process. (figs. 16, 17)
FIG. 13
FIG. 14
FIG. 15
FIG. 16
FIG. 17
FIG. 18
p
This is a great time to sign and date the
inside of the soundboard. Your name and
skills as a luthier will live on in infamy!
p
____11. Once the glue is dry, flip the panel over, and
drill the remaining holes. Drill through the
front panel as well as the reinforcement bar.
(fig. 18)
___Drill bottom 10 holes with 3/16” drill bit.
___Drill remaining 24 holes with 1/8” drill bit.
Don’t forget to redrill the top and bottom hole
through the reinforcement bar.

651-439-91207
www.harpkit.com
INSTALL THE BACK AND SOUNDBOARD
____12. While you are waiting for the glue to dry on the
soundboard reinforcement strip, you can work
on sanding the sides/frame of the soundbox.
Make a large sanding block to level the edges of
the sides. This will make for a better gluing sur-
face. Use double stick tape or spray adhesive to
apply 60-grit sandpaper to a flat block of wood
for a sanding block. Make sure that the block is
flat and not bowed. (fig. 19)
Check to make sure the base block, braces, and
top block are all flush with the sides. Use a file,
chisel, or sanding block to remove any spots
that are too high. You will want to clamp down
your project so it doesn’t move around while
you are sanding. (fig. 20) Make sure to sand both
the front and the back of the frame. This creates
a better glue surface as well as preventing gaps
from appearing under the soundboard.
NOTE: It is very important you make sure there are no gaps where the soundboard
contacts the frame. Gaps here create the potential of the soundboard coming off the
frame.
p
FIG. 19
FIG. 20
FIG. 21
____13. Dry fit the back to the frame. The back and soundboard panels are cut slightly large to
ensure a bit of overhang that can be removed after gluing.
Once the back is fitting nicely, remove excess overhang from the top and bottom. This
step can be done after gluing, but you may find it easier to do before you glue it to the
frame. You can do this by using a pencil to mark along the underside of the back against
both the top and bottom block. Then use a saw to cut off the excess. Make sure to leave
your line mark when making the cuts, to ensure that you don’t take too much material
off of the back. The rest can be cleaned up with sanding later on.
Mark the location of the frame on your back
panel to help locate the where to install
thenails.
Mark centerlines on the top of the frame, and
extend the lines to both the bottom and top
blocks, as well as the sides. (fig. 21) Put the back
panel back in place and extend the lines to the
side edge of the back panel. Use a straight edge
to connect all of your centerlines on the back
panel. These will be your guidlines for where to
put your nails.
____14.

651-439-91208
www.harpkit.com
____17.
Fit the soundboard using the same techniques
as you used to fit the back panel. There will be
a couple slight differences that you will need to
pay attention to. There is a greater risk of driv-
ing a nail through the outside face of the side
when you are installing the soundboard. There
are two things you can do to help avoid this
from happening.
1) Pay attention to the angle that you are install-
ing the nails - be sure to match the angle of the
sides of the frame. (fig.25)
2) Instead of marking centerlines for the nail
guidelines; mark your guidelines about 1/3 of
the way from the inside edge.
It is very difficult to make a seamless repair
when you punch through the sides. If you pay
attention to these two steps, it should prevent
any issues.
____18.
Test the bottom front trim strip in place and
mark holes where screws will be. Do NOT nail
within 1/4” of these marks.(fig.26)
Angle of Nail/Staple
should match the
side of frame
Don’t punch through the sides
of the frame!
____16.
Apply glue to the frame and nail the back panel
in place. (fig. 22)
Start by installing one nail at each end of the
panel to keep it aligned as you add more nails
down each side and across the bottom. (fig.23)
Place your nails about 1-1/2” to 2”apart.
Make sure to match the angle of the nail to the
angle of the sides of the soundbox, so that it
does not go through the side.
Do NOT nail along the top block, as there is
no trim to cover this area. (fig. 24) You will
need to clamp the back to the top block to be
sure that it gets held down.
NO Staples or
Nails
____15. FIG. 22
FIG. 23
FIG. 24
FIG. 25
FIG. 26
p
Soundboard Scrap
Mark where the trim
screws will be
Attach the soundboard scrap. Put a nail on each
side of the soundboard scrap. Avoid nailing in
the middle of the scrap as that is where the pil-
lar screw will come in. (fig. 26)

651-439-91209
www.harpkit.com
____19. Apply glue to the front of the frame and nail the
soundboard to the frame using your guidelines.
Remember to pay attention to the angle you
are installing the nails. Space the nails about
1” apart.
Remember, do NOT nail along the top block
(same as the back panel) as there will not be
trim here.
____20. Use a hammer and nail set or flat screwdriver to sink the nails/staples just below the
surface. This will keep them from interfering with the trim strips. Don’t drive the nails
too deep. High humidity could cause the wood to swell over the heads of the nails in the
future. (fig. 27)
1) Nails are necessary for the soundboard because wood glue alone is not sufficient to
withstand all the string tension.
2) Many people ask why we use laminated wood instead of solid wood for the
soundboard. The reason is that we get much more strength from laminated material
than from solid, and virtually no breakage. The superior strength of this material allows
us to use a thinner soundboard than if we were to use solid wood, so we also get better
sound with a laminated front than we would with a solid front.
FIG. 27
FIG. 28
FIG. 29
FIG. 30
INSTALL THE TRIM
____21. If you haven’t already done so, this is the time to
remove the overhang from the top and bottom
of the back and soundboard. (fig. 28)
Also use this time to double check that all the
nails/staples are driven down slightly below the
surface of the back and soundboard.
____22. Remove the excess overhang from along the
sides of the frame as well. There are several
options for removing the excess. You can use a
fine tooth hand saw, a hand plane, a palm belt
sander, or a sanding block. (figs. 29, 30)
WHY NAILS? WHY A LAMINATED SOUNDBOARD?

651-439-912010
www.harpkit.com
____23.
____24.
____25.
____26.
____27.
Sand the access holes in the back panel first
using 120 grit, and then again with 180 grit sand-
paper. Be sure to clean up the entire perimeter
of each hole. This will make for more comfort-
able handling once the harp is finished. (fig. 31)
Use an orbital sander to lightly sand the entire-
ty of the back, soundboard, and sides using 220
grit sandpaper. Make sure to take extra care to
hold the sander flat. (fig. 32)
NOTE: Be careful when you are sanding the
back panel. It is very easy to sand through
the thin hardwood veneer.
FIG. 31
FIG. 32
FIG. 33
FIG. 34
FIG. 35
p
Test fit the trim strips to the soundbox. Be sure
that you know which strip is going where.
Sand along the entire inside edge of the trim
strips. Do NOT sand the side of the trim that will
be glued down. It is easier to sand this inside
edge now, before it is glued down. Rounding
the edge will ensure that no one will get a splin-
ter from handling the finished harp near the
trim. Ouch! (fig. 33)
Test fit the bottom trim strip with the pre-
drilled holes. Check that the mitered edges
fit properly without leaving a gap anywhere.
(fig.34)
If the miters on the bottom trim strip need to
be adjusted, you can use a sanding block or disk
sander. (fig. 35)
The width of this strip should match the width
of the harp’s soundboard at the bottom. You
may need to adjust one side more than the
other to get the width and miters to match. If
you run out of wood to remove from the bot-
tom trim. The long side trim strips can also be
adjusted for miter angle.
When you are satisfied with the fit of the bottom
trim, use a 7/64” drill bit to bore pilot holes into
the base block.
Apply glue and use 1-1/4” screws to attach the
bottom trim strip to the frame. Be sure to clean
up any excess glue right away.

651-439-912011
www.harpkit.com
____31.
Now use a pencil to mark the overhang of
the trim strips at the top of the frame. Cut
the excess off with any type of saw. Be sure to
keep this top surface flat so the arched cap will
fitwell.
____27.
Position the side trim pieces and double check
the miter angles. Sometimes a gap can occur
once the bottom trim has been attached.
(fig. 37) One more dry fit should correct any
problems. Make any adjustments to the trim to
correct any gaps using a sanding block.
____28.
____29.
____30.
Sometimes when you fix the angle of the trim
to correct the gap, it will cause the inside cor-
ner of the miter to not line up correctly. Should
this happen, taper a line in the trim to match
the inside corners and sand to the line. (fig. 38)
Once the bottom trim is installed, make sure
the top of the trim strip is flush with the inside
top of the base board. File or sand the trim flush
with the base if neeeded. (fig. 36)
FIG. 36
FIG. 37
FIG. 38
FIG. 39
Apply a bead of glue to the side of the body
where the trim will be. Then smooth out the
glue with your finger to ensure a nice even glue
surface along the entire trim strip. You want
enough glue to make sure you have a solid
bond, but not too much where you will have a
lot of excess squeeze out.
Lay the trim on the body and use masking tape
to secure it down. Space the tape about every
inch. Use a scrap block to push the tape against
the inside edge of the trim strips. (fig. 39) When
using the tape, think of applying each piece like
a bandage where you are pulling tightly and
ensuring the gap closes. Loose tape holds noth-
ing well.
Repeat this process to install the second trim
strip on the opposite side of the body. You
will also want to put a piece of tape diagonally
across the bottom end of each side trim piece
over to the bottom trim piece. This will keep
the corners together as the glue dries.

651-439-912012
www.harpkit.com
Repeat the trim process for the back of the
soundbox. Except you will be using tape to
secure the bottom trim.
Use an 80 grit sanding block or disc sander to
flatten the top of the assembled box. (fig. 42)
Check the surface with a straight edge to make
sure that it’s flat across the entire top. This will
eliminate any gaps when fitting/installing the
arched cap.
Orient the arched cap block on the top block
and check for the best fit. Use two 2” wood
screws and a hammer to make punch marks
into the top block for guiding your pilot holes.
(fig. 43)
Then use a 7/64” drill bit to bore two pilot holes,
using the punch marks you just made with the
screws as a guide.
____33.
____34.
____35.
____36.
INSTALL THE ARCHED CAP BLOCK
FIG. 41
FIG. 42
FIG. 43
Cover the 2 screws on the front bottom trim with 3/8” wood plugs. Put a small dollop of
glue into the hole. Use a hammer to tap the plug into the hole. The plugs are tapered and
will only fit one way and will not sit flush with the trim. Allow 30 minutes for the glue
to dry, then use a small hand saw or sander to remove the excess plug material. Just be
careful to not make a divot in the trim. (fig. 41)
____32. Allow 30-60 minutes for the glue to dry. Then
remove all of the tape, and excess glue with
a purposefully dulled chisel. We’re trying to
remove glue, not wood. (fig. 40)
FIG. 40

651-439-912013
www.harpkit.com
____38.
____39.
____40.
Sand the top block to be flush with the sides of
the harp. Then sand the front and back of the
top block to be flush with the trim strips. You
can use either a portable belt sander, sanding
block, or orbital sander to do this. (fig. 45) Do
not sand the top of the block where the screws
are, as this is where the neck will attach to the
body of the harp.
Sand the sides of the harp with a hand sand-
er using 180 grit. Then create a 1/4” roundover
along the entire length of the body, on all 4 cor-
ner edges. (fig. 46)
FIG. 45
FIG. 46
FIG. 47
FIG. 48
REINFORCE THE BASE
The tension from the strings causes the pillar
to exert a tremendous amount of concentrat-
ed force on the base. The base reinforcement
piece is added to the bottom of the base to pro-
vide extra support.
Front of Harp
Base Reinforcement
Back of Harp
Hole to attach pillar
Base
Position the base reinforcement on the
bottom of the base lining up the hole
to allow access to the pre-drilled hole
where you will attach the pillar. (fig. 47)
Apply wood glue to the base reinforcement
and screw it to the base using six 1-1/4” screws.
(fig.48)
Apply a liberal amount of glue and screw the
arched cap block into the top block with the
same 2” screws you used as punches. (fig. 44)
Be sure to clean off the excess glue.
FIG. 44
____37.

651-439-912014
www.harpkit.com
Apply glue to the inside cavity of the pillar where
the neck will be attached. (fig. 52)
NECK AND PILLAR ASSEMBLY
The neck and pillar have been pre-fitted at our
shop, but you should test these parts without
glue to make sure the wood has not swollen
from humidity. The neck should fit easily into
the large slot at the top of the pillar. Lightly sand
the area if the joint is tight. Be sure to avoid
sanding too much in the area that fits into the
pillar, as you want to keep a nice fit.
____41.
____42. Sand the neck and pillar. It is much easier to
sand the neck and pillar before they have been
assembled. Start with 120 grit sandpaper, and
work up to 180 grit. Do the majority of your
sanding before you put these parts together.
(figs. 49,50)
Make sure that you sand off all of the scratch-
es in the wood. Having good lighting will help
you see the scratches. When you are sanding by
hand you want to make sure you sand with the
grain, so you are not adding scratches.
Do NOT sand the top side of the pillar where it
connects to the neck. (fig. 51) You will do this
later once the neck and pillar are assembled
together.
Sanding scratches will be more visible once you have applied finish. So taking time to
do a good job sanding, will leave you with a better final product.
p
____43.
____44.
It is crucial to be able to draw the neck and pillar firmly together when you glue them,
so test your screwdriver/drill to make sure it has enough torque to turn the large #14
screws all the way in. Do a dry run before adding the glue. This will help you prepare for
the task and give one more opportunity to sand the parts if needed.
HINT: It helps to clamp the neck in a vise
(with padding) or to your work surface so
you only need to hold the pillar in position as
you install the screws.
p
Do Not
Sand
FIG. 50
FIG. 51
FIG. 52
FIG. 49

651-439-912015
www.harpkit.com
Stand the harp up, leaning it against your work
table, so you can check the fit of the back of the
neck on top of the soundchamber.
Make a mark at about the center of the top
block. (fig.5)
Use a straight edge to make a long angled diag-
onal mark connecting the shoulder to the
arched cap block. (fig. 55) This mark will serve
as a guide as you drill holes for the connecting
dowel.
Make a similar mark on the other side of the
shoulder and arched cap block
Connect the marks across the arched cap using a straight edge. (fig. 55)
Now mark the center of the line you just made. (fig.55)
Repeat this process on the under side of the neck. (fig. 56)
FIG. 53
FIG. 54
FIG. 55
FIG. 56
Use the provided #14 x 2” wood screws along
with the #3 size square drive bit to draw the
neck and pillar together firmly. (fig. 53) Make
sure to clean up all the excess glue that squeez-
es out. It will be very difficult to clean up the
excess glue if you allow it to dry.
____45.
____46.
____47.
____48.
INSTALL THE CONNECTING DOWEL

651-439-912016
www.harpkit.com
Use masking tape to mark a depth stop on a 3/8”
drill bit, at a 1-1/4” depth. (fig. 57) This drill bit is
not included in your hardware pack. However,
it’s a common size in most drill bit sets.
The 3/8” drill bit will tend to wander as you
are drilling. If you first drill the hole with
a 1/8” drill bit, it will help stop the bit from
wandering.
p
Use an awl to tap a starting hole at the centerpoints on the lines you just marked. This
will act like a pilot hole to help keep the drill bit from wandering. (fig. 58)
Now drill a hole to the depth of your tape where you made your awl mark on both the
arched cap block and the neck. Rock the drill front to back about 10° to give the dowel
potential for a little movement. (fig. 58) (This movement will help when attaching the
bottom of the pillar.) DO NOT ROCK THE DRILL BIT LEFT/RIGHT.
Secure the neck in a padded vise before
drilling the hole for the dowel.
p
FIG. 57
FIG. 58
FIG. 59
FIG. 60
____49.
____50.
____51. Insert the dowel in the arched top block
(WITHOUT GLUE) and then fit the neck over
the other end of the dowel. (fig. 59) Hopefully
your hash lines match up pretty well:)
Now trace the footprint of the shoulder on the
arched cap block. (fig. 60)
This will serve as a sanding guideline. (Before
you outline the shoulder, make sure that the
bottom of the pillar is in the right location
where it will attach to the soundbox.

651-439-912017
www.harpkit.com
Next put a dollop of glue in the top hole, and
cover it with the medallion provided. You can
lightly sand the top of the medallion before
installing to clean off the smoke residue left by
the laser machine.
Once the plug and medallion have been
installed, allow at least 30 minutes for the glue
to dry. Use a hand saw, power sander, or sand-
ing block to remove the excess plug material.
Follow up with medium and fine sand paper to
remove scratches left by the coarse sander.
Cover the screw holes in the front of the pillar.
You can put the neck in a padded vise to help
keep the pillar stable. (fig. 63)
First, put a dollop of super glue in the bottom
hole. Then tap the 1/2” plug into the hole with
a hammer.
Use a hand sander to take off the excess bulk
on the arched cap block, as well as to soften the
edges. Do not sand inside the circle guideline
you have made. Sand the top shoulder of the
harp, so there are soft edges. (figs. 61,62)
____52.
____53.
____54.
____55.
FIG. 61
FIG. 62
FIG. 63
FIG. 64
Sand the rest of the pillar and soften the edg-
es on the top of the pillar. Make sure the joint
where the pillar and neck come together are
flush with each other. (fig.64)
FIT THE NECK AND PILLAR TO THE BODY
We do our best to ensure the neck and pillar
will fit the body of your harp, before it leaves
our shop. However, as a result of the building
process, sometimes slight variations can occur
that will require you to adjust the final fitting at
the end of the building process.
The joint between the back of the neck and the top of the body will remain dry --no
glue. the reason is to create a sort of “knuckle” that allows the harp to flex slightly
under string tension over time. It also allows you to take the neck/pillar assembly
off the body of the harp in the future, by simply removing the strings and the screws
at the bottom of the pillar. That permits you to make repairs, add decorations, or
refinish the harp easily, as necessary, down the road. It is one of the best features we
have incorporated into our harp designs, saving much time and consternation in
some cases.
p

651-439-912018
www.harpkit.com
Place the body of the harp on its back on your
workbench. Hold the neck and pillar assembly
in place on the body. Check the fit at the back
of the neck where it slides into the arched cap
block, then check how the bottom of the pil-
lar meets the base block. Follow the photos and
make minor adjustments as needed to achieve
a good fit.
Fig. 65 shows a perfect fit. If yours looks like
this, then proceed to the next step.
FIG. 65
FIG. 66
FIG. 67
FIG. 68
Fig. 66 shows a small gap between the pillar
and the base block. If the gap is less than 1/8”
the screw that you install, along with the string
tension, will draw the pillar down, and close the
gap. If the gap is wider than 1/8”, however, you
will want to fit and glue a shim under the pillar
to fill the gap.
Fig. 67 shows a pillar that is too long and needs
to have some wood removed at the bottom. In
some cases, you may need to remove a signifi-
cant amount of wood using a hand saw. Then
following up with a sanding block or flat file, as
needed.
Drill a 7/64” pilot hole into the bottom of the pil-
lar to make it easier to install the screw. (fig.68)
You may need to ask someone to help hold the
parts in place for this step. Be sure to follow the
angle of the hole that is already drilled in the
base block. You want the screw to match the
angle of the pillar.
Then, insert the 2”wood screw to hold the pillar
in place. If you did have a slight gap at the pil-
lar body joint, the screw will help close that gap
here. The 1,200 pounts of string tension on this
harp will also help close this gap.
____56.
____57.

651-439-912019
www.harpkit.com
PREPARING THE HARP FOR FINISH
Any minor cracks and blemishes can be filled
with your favorite wood putty. If you have
trouble finding a paste filler that will match
this wood, make up your own out of fine saw-
dust (from sanding the harp) and epoxy, wood
glue, or super glue mixed to the consistency of
putty (wood glue can be thinned with a drop or
two of water.) Another option is to use filler that
is light in color and then darken it later with
wood-tone touch-up pens. You want to fill the
cracks, and let it dry, before sanding smooth.
(fig. 69)
You are ready for your final sanding before you apply finish. If you haven’t done so
already, use a sander or plane to create a 1/4” roundover on the entire length of the body.
The quality of your sanding makes the difference between a professional looking instru-
ment and something that the general population can easily identify as a ‘home-built
harp.’ Give special attention to this portion of the project. You won’t regret the extra
time you took when you see the difference it makes in the finished product!
Some general sanding guidlines:
Use 80 or 100 grit sandpaper for shaping and rounding over corners.
Use 150 grit sandpaper for removing machine marks.
Start at 180 grit to smooth the surface and work your way up to finer grits until you are
satisfied. Then maybe do a little more:)
With the body seperated from the neck/pillar, take time to smooth all corners and
remove any machining marks from the entire harp. Start with 120 grit sandpaper, sand-
ing with the grain direction. Then 150 to 180 grit for the upper shoulder area to create a
smoother surface on the most frequently touched parts of the harp.
Don’t forget to sand the feet! This is a part you
don’t touch as often, but it’s still important to
get every part of the instrument smooth and
ready for finish. (fig.70)
____58.
____59.
FIG. 69
FIG. 70
You might notice some wiggle room in the neck and pillar once you’ve inserted the
wood screw into the pillar. This movement is natural and will cease once the strings are
installed. Do not glue the top block or the base block. These joints must be left dry to
allow for some movement as the harp is put under tension. It is also necessary so that
the harp can be easily dismantled again for applying finish, adding decorations, or
making future repairs.

651-439-912020
www.harpkit.com
STAINS or DYES -- These are coloring agents and should only be used if you want to
change he natural color of he wood. We usually do not apply stains to our projets,
especially when they are made with naturally beautiful hardwoods such as cherry or
walnut. These woods look best with a clear finish. But, if you want to color the wood,
your staining should be accomplished before applying a surface finish such as oil,
varnish, or lacquer.
OIL or WAX -- Be very cautious about using an oil or wax finish. If this type of finish gets
into the tuning pin holes, it will act as a lubricant, and you may have trouble keeping the
instrument in tune. Oil finishes will give your wood a low luster appearance, bringing
out the natural color of the grain, but it tends to soak into the wood and appear dry and
“thirsty” after awhile. Some people are fond of a beeswax finish for a natural look, but
it can show water spots if it gets wet, so you may end up needing to re-wax or touch up
the surface in the future.
POLYURETHANE VARNISH -- Any regular varnish will work fine on this project, but
we think a clear, semi-gloss polyurethane is the easiest to apply. Just wipe on a thin
coat and wipe of the excess. The advantages of this finish are it’s simple application,
minimal odor, good durability, and deep, soft luster.
LACQUER -- Many professional instrument makers use lacquer for their finish. The
most readily available lacquer is called Deft Clear Wood Finish. It is best to purchase a
can of liquid to brush on as a sealer coat first, and then use an aerosol can of the same
product to spray on the final coats. The advantage of this finish is its quick drying time,
but the disadvantage is the strong odor of the toxic lacquer fumes.
Apply the finish of your choice, sanding lightly between coats with very fine sandpaper
(600 grit) or steel wool (#0000). Don’t forget to sand and finish the feet too!
You will find it easier to apply the finish if you disassemble the harp.
GENERAL FINISHING GUIDELINES
APPLY A FINISH
OPTIONAL DECORATING
Hand painting or woodburning are fun ways to decorate your instrument. Light paint-
ing can be applied between coats of varnish or lacquer very nicely and will not harm
the sound of the harp. Some people use acrylic paints, and others decorate with colored
pencils or pastels. This is a great way to personalize your harp.
____60.