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The Schnaufer Model Story

My first dulcimer wasn’t a McSpadden, but my second one was. I still remember the beautiful sound of that first strum and how easy it was on the fingers to play. It was a simple, elegant, well made tool for playing music. Thirty years later I still feel the same.

I started visiting the Dulcimer Shoppe soon after and was befriended by the owners, Lynn & Mary Catherine McSpadden and by Jean Simmons (now Jennings) who tutored and encouraged my quest for this music. Jean still has the best tone the dulcimer has ever known. After my first FM12 Walnut Spruce (Special) was stolen, I replaced it with an all walnut special. That’s the dulcimer I used to win the first national contest at Winfield, Kansas in 1976. The second and third place winners received McSpaddens and I was disappointed that the much fancier instrument that I won wasn’t even playable.

The next year I won the first Southern Regional Contest at the Ozark Folk Center and I got to hand pick a dulcimer from the Dulcimer Shoppe. This is sort of where the Schnaufer Model begins. The instrument I was playing was all solid wood (no plywood). For the backs of their standard and least inexpensive models, McSpaddens use a music grade birch core plywood. When I played everything in the Shoppe, the ones I liked the best had that plywood back. They were loud and even sounding – no notes louder or quieter than any other. Through the years, I have always recommended these instruments to students or whoever was interested. During this time I was learning to make dulcimers with Bonnie Carol and we were working in exotic woods like Koa and Rosewood along with walnut and cherry. There was always something special about the cherry. It had a much less porous grain than walnut and I felt it really reflected the sound from the back just a little bit better than walnut.

Through the years the McSpaddens were always open to making changes, not just to satisfy the modern players but to make a better, more in tune dulcimer. The fret scale was adjusted, a thirteen and a half fret was added as well as the flat peghead with geared tuners. They started compensating the bridge for DAD players. I knew they were listening to what the players thought. Then in 1995, Lynn told me he had finally gotten his plywood maker to do a cherry ply. At that time I was hearing some guitars here in Nashville with redwood tops that I thought sounded terrific. I had also been reading about the nineteenth and early twentieth century dulcimer maker J. Ed Thomas who supplied Jean Ritchie’s family with instruments. Further research yielded the fact that he used redwood tops on some of his dulcimers and I had an epiphany: An FM12 with a cherry body and redwood top! It’s in the tradition and I just knew it would sound good. I started selling lots of them and each time one came out of the box it had a certain tone and sound I could count on. Other wood combinations might provide a variety of tone characteristics from instrument to instrument, but the cherry redwood dulcimers all sounded like each other. As much as I enjoy all the sounds of different woods and different dulcimers, when ordering an instrument through the mail I like to know what I’m getting. If you like the tone you’ve heard on my last few recordings – Tennessee Music Box, Delcimore or Uncle Dulcimer, the Schnaufer Model will give you that sound. As they age, they become warmer and deeper sounding but the tone is consistent, and the color of the wood takes on a darker hue.

Moving to Nashville in 1984 and taking the dulcimer into the world of recording sessions opened my eyes and ears to a whole new level of instrument set-up where the action and intonation are critical. Local repairmen here could take my McSpadden dulcimers and make them play even better. We discovered that using ball end strings instead of loop end strings dramatically changed the volume and tone. Frets and fingerboards were highly polished for smooth string bending. Nut and bridge slots were carefully cut so the strings would not pinch. This offers accurate and “creak-free” tuning. The Dulcimer Shoppe has included all these features in the Schnaufer Model.

I’ve always loved the feel of an ebony fingerboard, but on most dulcimers the overlay is so thick it kills a lot of volume. The Dulcimer Shoppe uses a very thin overlay that preserves the resonance. The fingerboard also features an eighteenth or high A fret. This allows you to play three full octaves in the key of A. I use it often. One and a half and eight and a half frets are available upon request. I’ve also increased the bass string gauge from .023 to an .024 for just a little more volume. We are using D’Addario strings which I consider to be the best choice.

Redwood is very soft and my model features a pickguard to protect it. I wore a hole completely through the top on my old one – very Willie Nelson. The black Gotoh pegs have a higher gear ratio than Schallers or Grovers so tuning is a breeze. If you use a strap when you play, make sure to have them put black buttons on to match the pegs. Though I don’t use pickups in my instruments anymore, preferring a Shure SM57 microphone, the Schnaufer Model is available with an LR Baggs bridge system if you want. I had Baggs design it about fifteen years ago when I was into “plugging in”. All the kinks have been worked out now and the guys in the shop are experts with the installation.

When the McSpaddens sold the Dulcimer Shoppe to Jim and Betty Woods in 2001, the Schnaufer Model was sort of a bridge in the transition. I’m so thankful for all the years Lynn and Mary Catherine put in to make their dulcimers the standard by which others are judged. It takes a lot of work to make reasonably priced high quality instruments. Jim and Betty have continued in the tradition and are moving forward with additional improvements that really matter to me.

I must say it is kind of strange to see my name on a dulcimer, when it is actually the products of so many peoples’ hearts, minds and hands past and present. Enjoy your Schnaufer Model and may the tradition continue.

David Schnaufer
July 6, 2003


The Schnaufer 6 Model

Do you like the shimmering sound of a twelve string guitar? Are you a fan of The Byrds, Leadbelly, Glen Campbell, or Leo Kottke? How about the sound of an Irish Bouzouki or an Octave mandolin flatpicking jigs, reels, and hornpipes? Do you want your hymns to have a full, bright sound with just a gentle strum? Do you want to make your dulcimer playing sound brand new again with the clarity of a harpsichord? How about the west coast stylings of the double dulcimers of Force & D’Ossche?

If so, you need to check out my new Schnaufer 6 Model.

The six string dulcimer is rooted in the 18th and 19th century scheitholt traditions that often featured up to 10 strings on a narrow body. Sometimes the six string was referred to as a “church dulcimer”; I believe because the unamplified volume could fill a small church rather than the softer sound for parlor or cabin use with just 3 or 4 strings.

The bass string with its high D double will give you a whole new range of creativity for flatpicking and strumming. The strings are lighter than a 4 string for a softer touch. The high Ds are .010, the middle strings are .012, and the bass is a wound .022 and an unwound .010. Due to the fact that there is a larger wound bass string next to a smaller diameter string, the hard rubber or leather on most capos will not effectively hold the smaller string secure. Included is a piece of softer rubber that you can use under your existing capo for a no buzz fit.

Each instrument also has strap buttons to facilitate playing standing up, which is a natural for the teardrop design. Always make sure your strap is secure.

The first five dulcimers that I made in 1978 were six strings set up in this fashion. It has been a thrill to revisit this unique sound again and has led to much joy and creativity in my playing; I hope it does for you also.

Unsolicited Comments About Schnaufer 6 Model

“It’s the most traditional sound I’ve ever heard.” Z.L.

“What a modern sound.” B.I.

“It Rocks!” D.H.

“It holds its own with the volume of guitars and fiddles.” D.C.

“Gives me goosebumps.” D.S.

“What a big sound with a light touch.” D.E.

“This is what dulcimers are supposed to sound like.” Z.L.