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The Merlin is an excellent harp; since Rick is an individual craftsman the only concern might be if he retires.
The Merlin won first place in a blind listening test at Somerset when it first came out so there you go. It uses fluorocarbon strings. Be sure that you get the string chart if you buy it and have a source for replacement strings. Vermont Strings carries some and should have the string chart on file if the seller does not have it. Savarez is now the standard for FC harp strings.
The purpose of dowels, string ends etc. (I’ve also seen beads and even Q-tips) is simply to keep the knot from slipping through the grommet. As in much of life, nothing is perfect: dowels make bend break or rattle if not properly sized or tied, string ends are slippery until the knot is tight.
Just use what works best for you. For what it’s worth, I put a dab of CV on the knot/string end and a leather washer between the anchoring string end and the sound board. Don’t try this without the washer: you can glue the knot right to the SB.
Not real clear on the question specifically but maybe this will help:
Some (maybe most) do not have access holes in the back so you must thread the strings from the front (the long end will be accessible from the base). Tie the knot in the usual way.
Most also use guitar machines instead of pegs; just tune it up as you would a guitar.
You will of course have to have the correct string sizes (and excess lengths if threading from the front).
Biagio
Well, but really a better idea might be to contact theatre property managers. Harps often show up in films and on stage. I recently noticed one in Sleepless in Seattle (that was a Troubadour but what the heck).
Well nothing in life is without “issues.” Not even if one goes back to living in a cave. If one objects to a harp on environmental grounds, consider that some are made from rare and even endangered tree species. Not to mention that some woods are toxic such as Wenge.
Seriously though you could perhaps take her through the history of the harp, emphasizing it’s unique place among stringed instruments, the thousand years of craftsmanship that has gone into what we have today. That might not make her feel better about the string thing but it might make her feel better about playing one.
Just sayin’…
WRT to the elderly harp: since it would cost a good deal repair/overhaul, consider donating it…I am sure we have all seen old harps having a new life as artistic frames – I’ve even seen one in the garden to hod flower planters.
I agree with Charles and will add a couple of thoughts.
First, use nylon (or FC) if you want a brighter sound, but keep the tension the same as with gut. Vermont Strings (or others) can figure that out for you.
Second, you could probably convert the harp to metal strung if that idea floats your canoe.
Third, either be happy with the L&H as a second or if you want to spend the $$ replace the sound board with a thinner one.
That’s neither hard nor expensive in terms of materials but the labor would definitely cost a bunch if you went to a luthier. Any decent wood worker however could remove the old one and put on a Finnish ply board, which you could buy at Musicmakers (and again, replace the strings). Costly yes, but you would learn a lot about harp making (grin).
Dusty’s Universal key is actually a tap wrench inserted into an elegant handle. Very creative idea, not particularly difficult to make if one wihes.
The Sweetharp is kind of a “collector’s item” for some people but probably not something easily sold through a music store. You would probably get little through a consignment sale; the limited number made before Chris died went new for around $400.
It is small and robust and I know from personal experience that it can be safely packed in a box from U-Haul so that’s what I suggest. Advertise in the usual folk harp places (the Folk Harp Journal e.g.) and if you get an acceptable offer wrap it up carefully for shipment.
I’m surprised that no one has replied to this yet, but for what it’s worth here is my take:
You seem unsure where a harp might take you so in your place I would not at this time plunk down $10,000+ on a pedal harp. If you expect to do small event gigs that is also an argument against a big instrument unless you have a van to transport it. So I would go with a GOOD 34-36 string lever harp, for which there is a ready second hand market; either for your first acquisition and/or future resale. Depending on where you live there are some excellent lever harps being made: by Camac, Salvi, L&H, Dusty Strings, Blessley, Thormahlen, etc.
Bruner is good basic technique but has few etudes. Here are three others (books) that go into more depth with exercises:
Yolanda Kondonassis: On Playing the Harp
Maria Grossi: Metodo Arpa (in Italian but should be self-explanatory)Both the above have excellent illustrations of hand position as well as etudes/exercises, and assume Salzado technique and the pedal harp.
Deborah Friou: Harp Exercises for Agility and Speed (just exercises)
The late Chris Caswell put up three lessons on Youtube and his explanations, while basic, get right to the heart if it for the lever harp.
I don’t know what tension is on the Fireside strings and that is what would drive the volume, so really could not voice an opinion. I suppose it would not hurt to try changing to a wooden box, but agree with you, Balfour.
If it were me though and I really wanted a small double I would buy the Rees Morgan Meadow.
Biagio
Hi Nicbo and thank you Balfour,
All that stuff about stains and finish: it’s information you would find most likely in a wood working site or books. Harp makers would rather talk about how their instruments sound, not surprisingly!
I started making musical instruments just for fun and to pass the time during winter when living in a cabin in the Blue Ridge mountains, as many do there: usually fiddles, banjos dulcimers etc. Then one day tried a harp and got hooked and started doing them for myself and for friends and acquaintances. At one time considered doing it full time but age and health dissuaded me LOL. But the craft still fascinates me so I know a lot of harp makers – they are among the nicest and most generous people you would ever want to meet!
Ooops sorry, I forgot to answer what I personally prefer as(a lever harp) maker and why.
For the frame and box I will first of all be very selective in choosing the wood – for figure, close grain etc. – which will save me a lot of time in sanding as well a look good. Since I really like to see the wood grain and figure I do not stain it and for the finish rub on Tru-Oil Gunstock finish.
Early on I used Min-wax polyurethane and will still use it for an inexpensive harp built out of baltic birch ply (which I might also stain.
I like Tru-oil because it gives the degree of sheen I like, depending on how many coats I use, dries quickly and does not drip (much haha). Some dedicated finishers will use shellac but that takes a lot of elbow grease an does not protect against water stain if the harp happens to get wet.
For the sound board I will almost always use lacquer unless it is a Finnish ply board (3 to 5 veneers per 1/8 in/3mm). I want as little as possible to interfere with the board’s vibration assuming a spruce or other soft wood; with the ply board it does not make much difference since those will not stretch and achieve more color over time.
The best way to bring out the grain is very careful sanding with graded grits, followed by scraping to eliminate each and every blemish. Scraping will also add microscopic “dust” into wood pores; that is the principle used with shellac sand-rubbed finish.
Over the centuries wood workers have used a variety of methods to make the grain “pop” (heating, acids, etc.) but that’s a whole other discussion on a wood worker’s forum.
Let’s first of all distinguish between stains and finishes. A stain simply colors the wood, a finish is a hard coating to protect it. The maker may offer you a choice on stains but will usually apply the finish they prefer. Of course if you make the harp yourself choose what you prefer.
The most common finishes are lacquer, rubbed oil, and polyurethane varnish. Lacquer dries fast, is very hard and high gloss but the fumes are toxic. A rubbed oil such as Tru-oil also dries quickly and is easy to fix if you missed a scratch from sanding. Polyurethanes are a good choice if you are not into finishing (an art in itself) but may dull the tone if used on a solid wood sound board. Polys come in gloss, semi-gloss and satin; they are also available as gels and may incorporate a stain as well.
Some harp makers offer a choice on stains (if any) but most if not all will use the finish that they prefer. The finish provides very little if any additional strength unless it is applied in many heavy coats, which is obviously not what you want on the sound board.
It is probably by Jay Witcher, yes; the other harp maker in Maine whom I know is Fred Gosbee (company name Castlebay). Fred and his wife Julia are primarily recording artists but he is also an accomplished harp maker. It is worth mentioning that there are quite a few like Fred who will some times make a harp for a friend/acquaintance although it is not their primary business.
Assuming though that this is a Witcher it is difficult to make a valuation just based on a picture even if that had loaded successfully. I suggest taking it to a harp maker near you for that anyway, if there is one, since a lot can happen to a harp over 15 years.
Good luck!
Biagio
