Musicmakers 17/16 Hammered Dulcimer Kit User manual

17/16 HAMMERED DULCIMER KIT
Assembly Instructions
1 assembly instructions
1 tuning chart on transparency 66 tuning pins
33 rh 1” screws for top (square drive)
2 black delrin rods (24” each)
2 brass tubes, 3/8” dia (21” each)
1 tuning wrench
4 walnut plugs, 3/8” dia
4 wood screws, 1-1/4”
1 drill bit, 3/16”
1 drill bit, 9/64”
1 square drive #2 bit for top screws
Music wire:
4 ea. - .032” dia. loop-end wound strings
8 ea. - .024” dia. loop-end wound strings
20 ft of .016” dia. music wire
50 ft of .018” dia. music wire
50 ft of .020” dia. music wire
75 ft of .022” dia. music wire
a) 1 back (1/4” plywood)
b) 1 soundboard/top (solid wood)
c) 2 pinblocks (walnut and maple)
d) 1 long front rail (walnut)
e) 1 shorter back rail (walnut)
f) 2 inner braces (hardwood)
g) 2 bridges (maple)
h) 1 tone bar (hardwood)
i) 1 bridge support block
j) 1 pair playing hammers
WOOD PARTS
HARDWARE
Musicmakers
14525 61st ST CT N
Stillwater, MN 55082
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Updated November 2019

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BEFORE YOU BEGIN
Inventory and inspect all your parts carefully. If anything is
missing or defective, please call us right away.
_____A.
_____B. It is a good idea to read through the entire assembly instructions before you start, just to get
an overview of the project.
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A NOTE ABOUT GLUE
We stronglyrecommendthatyou usea commonwoodworking glue like Elmer’sCarpenter’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.
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.
ASSEMBLE THE FRAME
____1. Test fit the four frame parts together (two PIN-
BLOCKS and long and short RAILS) without glue
to see how they fit. Position the frame pieces on
top of the Back panel and check to see that the
corner joints fit tightly. (fig. 1) Make minor adjust-
ments to the ends of the rail pieces if necessary.
Notice that the front and rear RAILS are pre-drilled with a 3/8”
countersink for wood screws. Make sure these countersunk
holes face outward on the box. The close-up photos here (figs.
2 and 3) should help you confirm the proper orientation of the
parts.
The upper edge of the front and rear RAILS are rabetted just to
give as much open vibration to the top panel as possible.
The PINBLOCKS should have the maple side facing up.
The RAILS should have the rabbeted side facing up
Rabbeted edge UP
Back
(walnut side facing
out or down)
Maple side
facing UP
Rabbeted edge UP
counter-sunk
hole facing out
Rear Rail
Front Rail
FIG. 1
FIG. 2
FIG. 3

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FIG. 4
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____3.
____4.
____5.
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.
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 assem-
ble 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 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.
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THE BACK
Find yourself a good collection of c-clamps or heavy weights
(cement blocks or bricks). It pays to be prepared -- 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.
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. BE CAREFUL to prevent the frame from
sliding out of position as you glue and clamp it to the back. Wet glue makes the parts slippery.
Perfect centering is not necessary, but you don’t want the frame to slide right off the edge of the
BACK! You should have some of the BACK showing all the way around the box, and you will
trim that excess off later. (fig. 4)
Before gluing check that the walnut side of the BACK is facing
out and the maple side of the PINBLOCKS are facing up.
(fig. 1, previous page) back should show all the
way around

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____6.
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FIG. 5
FIG. 6
INNER BRACING
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 distances (shown in fig. 6) from
the long FRONT RAIL to determine the proper placement, then glue them to the BACK, using
heavy weights and/or clamps until dry.
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. (fig. 6) 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
One more BRIDGE SUPPORT BLOCK is needed for the internal
bracing. We like to chamfer the bottom corner of this block just
to make sure we can glue it firmly to both the back panel and
the rear rail without any interference from dried glue residue
along the inside corner of the box. (fig. 5)
Glue the BRIDGE SUPPORT BLOCK to the BACK and the REAR RAIL, 5” from the inside left
corner so it stands the same height as the PINBLOCKS. (fig. 6)
NOTE: The TONE BAR may be slightly higher (1/64”) than the SUPPORT BLOCK and
PINBLOCKS, and that’s OK. We like to “crown” the TOP PANEL (soundboard) slightly to coun-
teract the natural flexing of the box when the strings are under full tension.
chamfered corner
5”
12-1/2”
1-1/4”
right of center
1-1/4”
left of center
center line
bridge
support block
tone bar
center line
5-1/2”

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FIG. 7
FIG. 8
FIG. 9
GLUE ON THE SOUNDOBARD
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.
Test fit the SOUNDBOARD to the box. The goal is to have equal overhang all around the frame.
Check for dried glue blobs or uneven surfaces on the box that might interfere with a good fit.
CUSTOMER SUGGESTION: It is common for the soundboard to slip off-center when the
first clamps are placed. To avoid that problem, one person (Clem Rook) suggested drilling
a 1/16” diameter hole through the soundboard into the pinblock at the punchmarks in two
opposite corners of the box. This allows you to push a small nail temporarily into the holes
to prevent the soundboard from drifting as you clamp it to the frame. Pull the nails out
when done. The holes will be drilled larger later, for tuning pins or hitch pins, so you don’t
need to worry about filling them.
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.
Read the hints below before you start, and then look for glue squeezing out around the edges as a
sign of good contact.
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If the soundboard is warped
upwards in the middle, you
may need to add a clamping
board across the top to press
the middle down against the
Tone Bar inside. (fig. 7)
Be sure to avoid clamping
over the openings along the
front rail. Those gaps allow
the SOUNDBOARD more
freedom to vibrate in the
bass range, balancing the
sound of the instrument.
(fig 8)
front rail
CLAMPS
Pad the jaws of your clamps with wood blocks to prevent
damage to the top. (fig. 9) 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. Or use padded spring clamps as shown in fig. 7.

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TRIMMING AND SANDING
DRILLING FOR HARDWARE
____13.
FIG. 10
FIG. 11
FIG. 12
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 flush-trim bit
and move the router clockwise around
the perimeter of the box (i.e. in the same
direction as the spin of the bit). That
helps prevent tear-out. Also, take care to
avoid letting the roller “fall” into the open
slots in the FRONT RAIL. (fig. 10)
Roller
Flush-trim router bit
Cutter
Check your router base and work table for any foreign matter that might scratch up your
instrument. We recommend covering your work table with an old towel or a carpet scrap
for padding from now on as you sand and clean up the box.
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Plug the countersunk screw holes in the front and rear
RAILS by gluing the four walnut plugs into the holes. (fig.11)
Sand the plugs flush with the surface of the RAILS so that
you remove all ridges and all glue residue on the surface.
Round over all sharp edges of the dulcimer box so they feel
smooth to your hand. (fig. 12) A router with a 1/4” round-
ing over bit makes this job simple, but you can do the job
by hand with a sanding block, or use a random-orbit palm
sander. Follow up with medium sandpaper (by hand) to
remove any scratches.
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
(or cordless) 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, as shown
on the next page. (figs. 13 and 14)
One customer recommends making a drill guide out of a thick scrap of wood to help you hold
the drill vertically for each hole.

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FIG. 13
FIG. 14
____18.
____19.
If the punch-marks are difficult to see, blow the dust off and shine a bright light at a low
angle to help locate them. Use an awl to enlarge any that are difficult to see.
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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 oth-
er) using a 9/64” drill bit,
boring ONE INCH deep.
TUNING PIN HOLES:
Drill the 66 tuning pin holes
on 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 at least 1-1/4” deep (we
do not want the tuning pin to
reach the bottom of the hole).
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. The head of the screw is
very handy for keeping the wire from jumping off the pin as you tighten the tuning pins.
c) If you happen to chip the soundboard 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 be so apt to slide off the tops of the pins.
POINT OF INTEREST
SANDING AND FINISHING
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.
Sand the maple BRIDGES to remove any burrs or rough spots.
Side note: The bridges in this kit have been cut by laser. 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.

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Notice that the BRIDGES have a few tiny
holes drilled along the tops. These are
for marking dots to help guide you in
your playing. You need to fill these holes
with black DELRIN (from the excess
length provided in the kit). Push one end of a DELRIN rod into a hole and clip it off as close to
the wood as you can with a wire cutter. Repeat this procedure for each hole, but be careful not
to use too much DELRIN from one rod. You must leave the rods long enough to span the entire
length of the maple BRIDGES. (fig. 15)
Sand these marking dots flush with the surface of the bridges.
FIG. 15
If the BRASS TUBES are tarnished, use steel wool or a scouring pad to clean and brighten them
up.
When satisfied with your sanding, apply the finish of your choice. Here are a few suggestions:
STAINS or DYES -- These are coloring agents and should only be used if you want to change the
natural color of the wood. We usually do not apply stains to our projects, 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 instru-
ment 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 wipe-on (gel) polyurethane is the easiest to apply because it does not drip or sag -- just wipe
on a thin coat and wipe off the excess. Our complete finishing kit includes a half-pint can of
satin gel polyurethane (instructions printed right on the can), plus sandpaper sheets, and foam
applicator for the first coat. The advantages of this finish are its simple application, minimal
odor, good durability, and deep, soft luster.
LACQUER -- Many professional instrument makers use lacquer for their finish. The most read-
ily 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.
Don’t forget to apply finish to the maple BRIDGES! We also like to apply one clear coat on the
BRASS TUBES to keep them shiny.
ROSETTES - Lightly sand and apply finish to the rosettes before installing them in the sound-
board. When dry, the rosettes can be glued in the soundboard holes using regular woodwork-
ing glue or super glue.

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FIG. 16
FIG. 17
FIG. 18
INSTALLING THE HARDWARE AND STRINGS
Once the finish is dry, you can install the hardware. We have a helpful video online that walks
you through this entire process. www.harpkit.com/1716-hammered-dulcimer-kit.html
CAUTION: Be very careful not to damage the finished surface as you install the tuning pins
and hitch pins! We usually lay a long scrap of wood next to the pins as we work, so if the tool
slips, it will just nick the scrap instead of the finished top.
p
The 33 holes in the center row of each side (17 on one side and 16 on
the other) are for the HITCH PINS (round-head wood screws). Use the
square-drive screwdriver bit to screw them down until the screw heads
are just slightly above the wood surface. (fig. 16)
You can leave out the lowest two hitch pins on the left side of the instrument and
the lowest four on the right side of the instrument. You’ll need to slip some strings
on these hitch pins before you install them.
The 66 holes in the two outer rows on each side of the box (34 on one
side and 32 on the other) are for the TUNING PINS. Insert these pins
THREADED END FIRST into the holes using a hammer to tap them
until they stand about 1 inch tall. The hole in the TUNING PIN should
be about 1/4” above the SOUNDBOARD. (fig. 17) Note that they are
threaded, so they drive themselves deeper as you turn them to wind
wire around them.
Center both brass tubes in the grooves along either side of the instrument, holding them in
place with a little tape until you have a few strings installed.
Cut the black DELRIN rods just a little longer than necessary to fit the length of the maple
BRIDGES, and use masking tape to hold the delrin temporarily in the groove along the top of
each bridge. We like to have the DELRIN extend about 1/8” beyond each end of the BRIDGES.
Stand the TREBLE BRIDGE (the
longer one) on the instrument so
that the upper end is about 7-3/4”
from the rear left corner of the
box, and the lower end is about
16” from the front left corner
(fig.18) Hold it in place tempo-
rarily with a little masking tape.
NOTE: The black dots are
important playing aids. The
TREBLE BRIDGE should be ori-
ented so the end with the black
dots are at the top (rear rail).
7-3/4”
16”
Now you are ready for stringing! You may want to ask a friend to help you with this part of
the project, as it goes easier with more than two hands. You also will need the tuning wrench,
some masking tape, and a wire cutter for these next few steps.

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STRINGING - TREBLE BRIDGE
You will begin by installing all the strings that cross the Treble Bridge first. Forget about the
Bass Bridge for now -- we don’t want to get you confused.
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Find four of the loop-end wound strings (size .024”). These
will form the first two “courses” (pairs) of strings near the
bottom (wide) front rail of the dulcimer. (fig. 19) Insert a
HITCH PIN through two of those string loops and use the
Square Drive Bit provided to install the HITCH PIN into
the wood, leaving a little space under the head of the screw
so the wires can be pulled into alignment. (If you forgot
to leave the bottom two hitch pins out - don’t worry. Just
remove those pins, add the strings, and re-install.)
Left Side - Treble Bridge
.024” loop-end strings
two per hitch pin
Hitch Pins FIG. 19
FIG. 20
FIG. 21
FIG. 22
FIG. 23
Trim one of the bottom
loop-end strings about 2-3
inches longer than neces-
sary to reach the first tun-
ing pin on the right side of
the instrument. (fig. 20)
Poke the end of the wire into, but not all the way through, the small
hole in the first tuning pin at the lower right corner of the dulcimer
on the inside row. (fig. 21)
Use the tuning wrench to turn the pin CLOCKWISE about one-half
turn before putting tension on the wire.
Pull on the wire to “set” it in the
pin. (fig. 22) This puts a kink in
the wire at the point where it
enters the tiny hole in the tuning
pin. If the wire pulls out of the
pin when you pull on it, cut off
the kinked end and try again.
This may seem like a silly exercise, especially
if the wire keeps coming out of its place when
you pull. We install strings this way because
the sharp ends are left hidden in the tuning
pins where they can’t poke fingers or catch on
clothing. It really does work, and it is worth
learning the technique.
Keeping tension on the wire at all times, turn the pin about two complete revolutions with the
tuning wrench, guiding the wire DOWNWARD as it winds around the pin, just enough to take
up the slack and pull the wire slightly taut -- BE CAREFUL -- if you tighten too much the wire
will break! Consult fig. 23 at right to check your work.
Install the second string of that pair to the next tuning pin, to the right of the first tuning pin.
Then go to the next pair and install them in the same way. Then you will switch to plain music
wire.
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