Plus 10 string Kantele supplementary notes

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This guide is written to work in conjunction with my 5 string and 10 string Kantele plans. I have selected
what I consider to be my best sounding and best proportioned Instruments for these drawings.
These instruments are an excellent introduction to making musical instruments and if you make your
instrument the way I suggest there is little that can go wrong,
This way of making uses templates taken from the drawings, plus a few exact measurements.

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The plans that accompany this guide follow the method 1 construction but are essentially the same
dimensions in all three ways. They may start differently but they all arrive at a hollowed out sound box
ready for the addition of a tailpiece and carving of the head.
For someone with access to a full workshop, with sanding disk, a Jointer, Band saw, and maybe even a
thicknesser and plenty of clamps then I would recommend method 3 as a simple way to go.
Those with limited means or the desire for carving should consider the 2rd method.

For me one of the joys of making is in using small planes, shoulder planes, spokeshaves and Nordic Style
Knives, This is not necessarily the quickest way to build and you can make a Kantele with standard
woodworking tools. Certain jobs like the rebate at the head can be done by saw and sandpaper if
necessary.
Here is a basic list of Hand tools
Drill bits required: 6mm, short and long lengths (string Bar)
18mm Forster bit (for registration mark/bird beak)
8mm Forster bit (for Birds eye)
50mm Forster bit (tailpiece)
25mm Forster bit x 2 (For method 1&2 only)
**For the drill bits required for the zither pins please read page 21.
Saws: Various handsaws, tenon or dovetail (for sawing the head) Coping saw (if no access to a band
saw)
I also sometimes use a tree saw to rapidly cut out the head, you will need to remember to wear protective
gloves however as great care is needed.

Planes: Block plane (for the head area, inside on model 1 ) Shoulder plane ( head) Jackplane/smoothing
plane if thicknessing by hand.
Sand paper and blocks or rasps/surforms can be used instead but are much dustier. if you are without
handplanes this is one way to go.
Spokeshave: The tailpiece can be carved using a spokeshave or knife or sawn and sanded to shape.
Knives: Nordic Knives are the easiest to keep sharp! I use the economical birch handled knives by
Frosts of Mora, Sweden. These are very pleasing to use and useful for rough shaping and details.
Chisels: A basic set of chisels is all you need 6mm, , 12mm, , 25mm, 1
You will also need an assortment of scrapers, a Bradawl for marking holes, Engineers square, several G
clamps and various other clamps for gluing up and a long ruler are useful additions.
Bench: To make this instrument you need a stable surface that you can clamp or attach a vice to.
Something you can easily make are some violinmakers closing cramps using 4 roofing/coach bolts, a
washer and a butterfly nut. The wooden ends are faced on the inside with leather or cork, glue them with
titebond and then Drill the holes so the bolts push through smoothly, not too loose. Leave the wood
square or round them off. The ones purchased from Luthier supplies are lathe turned.

Powertools

The only power tool I set as a absolute requirement is a bench or pillar drill, with this you can accurately
drill the holes for the zither tuning pins, do most of the hollowing, drill the bridge bar hole, shape the
tailpiece using a foam sanding attachment.
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You can use a drill attachment but in my experience these are less accurate.
A small 5-speed bench drill is fine and economical to buy.
Other tools you might find useful
Router: A small router is great for the inlay, but you will need to get a decent collet more powerful
router if you want to use it for hollowing out.
I prefer the drill method as it is less hazardous.
Bandsaw: I have a band saw with a 6 depth of cut, which I use for cutting the instrument to shape and
the occasional re-sawing to make 5 string soundboards. This tool saves time and if set up well is very
accurate.
Disk Sander: This is a great tool for rounding the head and bottom of the kantele
If you can get your wood thicknessed to size from your supplier you can avoid the need for a Jointer or
thicknesser.

Traditionally Kanteles were made from whatever woods were locally available
Birch, spruce, alder, poplar and willow and the pegs were made of hardwood or bone.
Certain woods can react with the steel of the tuning pegs, these include woods like yew and oak, but with
care you can bush the holes in these with safe woods like hard maple.
I have successfully used cherry, ash, walnut, poplar (populus spp) sycamore (acer) elm, parana Pine
(recycled), maple, and cedar.
I use English/Scottish sycamore or maples for most of my instruments. These woods are traditional for
violins and they take the Zither pins well. Walnut is a joy to work and look great. My favourite recently
has been sycamore, which I get from Scotland. It is slightly denser than English sycamore, closer to hard
maple.
Try to use whatever is available locally first. Experiment!
Here are some basic recommendations:
USA: maple, walnut, birch,
UK: sycamore, birch, ash, beech (hard work)
Finland: birch,
Australia and Southern Hemisphere notes:
Nothofagus species in general are an equivalent to the northern birch (they are botanically related)
Silver/Red/black Southern Beech, Myrtle, Raui, etc and should prove most suitable.
Dont use the denser eucalypts for a hollowed out Kantele unless you have serious power routers, You
could try the lighter mountain ashs, the less dense acacias, like Australian Blackwood or Golden Wattle
There is altogether a fabulous range of species that will differ regionally, experiment! Let me know what
you discover!

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The best wood to use structurally for instrument making is quarter-sawn wood
This is often not available (except at a premium from some suppliers) but if you are able to self-select
your timber you can sometimes be lucky.

Quarter-sawn, (timber lines may curve up to an angle of 45 degree)

Slab sawn example

If the timber you have got is slab sawn you can still use it but you have to take care in matching the grain
direction of the separate pieces, as you want your Kantele to behave as one piece of wood. Guitars get
away with breaking these rules because of the thinness of the wood, with the thicker wood of the Kantele
it is not worth the risk.

I often re-saw slab sawn walnut wood to make it behave as if was quarter sawn.
This only works if you are building up your instrument out of separate pieces.

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(Pine, fir, cedar, willow, poplar, horse chestnut/buckeye, paulownia etc)

You can utilize a whole range of softer timbers if you follow these adaptations:
For extra strength for the very softest timbers add 1.5mm (1/16) to the soundboard thickness. You might
like to do the same to the framework as well.
You could also consider adding more depth to your instrument, another is my recommendation.
The critical thing is that you will need to insert harder timber in the Zither pin area. The easiest way to do
this is to buy a matching plug cutter and drill set {Veritas make a good one) The plug needs to be at least
10mm, which leaves 2.5mm all around the pin . The best wood to use for the inserts is hard maple, but
you can substitute beech (if you are stuck you can often use the wood from wooden rolling pins which are
usually made from these hard woods!)
For how to insert these plugs see page 27 under Peg hole Bushing.

Solid Body, separate soundboard + Tailpiece (method 1)

Use one piece of quartersawn timber.
Timber required: 27 by 5 by 2 deep( if sawing the soundboard from it) Or 27 by 5 by 1
otherwise. Soundboard same size but planed to 5-6mm

One Piece Kanteles plus Tailpiece (method 2)

You will need a board the minimum of 2 thick after thicknessing
Go deeper if you like. Dont choose a timber that is too hard to carve, Birch, softer maples, Cherry,
walnut are fine.
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Timber required: 27 by 5 by 1 approx deep. In the drawing my body is 42mm thick, the design
can easily accommodate thicker a body if you wish to make it a little deeper.

Separate sides, tail and head blocks, soundboard and

Tailpiece. (method 3)
This is the most flexible and economical way of using smaller pieces of timber, those with a well
equipped workshop may find this approach easiest
Timber required: You can utilize thick strips of wood 1 wide, max. 27 long and various
pieces to make up the dimensions of the framework The top is as before

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Drawings and Templates
Drawing (by tracing) is useful to help you understand what you are making. You are training your eyes
and hands to know the form of the Kantele.
Begin by making a tracing of the outline of the Kantele from the plan. Include the crosses that show the
beak of the head and the 1st and 5th tuning pegs as these are the reference marks.
You can also trace the bridge outline. If you intend to make more than one Kantele it is worth making
templates from these tracings in Plywood, MDF or even thick card.

The first stage is to use the template to draw the outline on the wood

Mark on the reference points with the tracing paper and using a bradawl mark out the position of the hole
you need to drill (the beak)
Use your 18mm Forstner drill bit in your bench drill, rest the wood on a piece of waste timber/chipboard
and drill the hole all the way through.

In this example I have band sawn the kantele roughly to shape (you may like to leave more wood for
strength while drilling/chiselling) then I have bandsawn off the top 7mm (see drawing) and planed both
pieces square using the thicknesser. The top of this example is now 5.5mm deep and the body 36mm
deep.
Alternatively, you could use a separate piece of wood for the top.

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You now need to mark on the area for removal using the Template registration mark and the tracing paper
from before.

Set up your Bench drill with a waste piece on the bottom and your 1 forstner bit.
Take your tike and carefully drill through, overlapping each successive hole a little.
You now need to clamp the body to a fixed surface with packing underneath and use your chisels to
square off the round holes, you can also use files and sandpaper to get the inside straight and smooth.
Once this has been done it is time to hollow out the space under the tailpiece to maximize the resonance.

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Mark the area to be cut with a knife to determine how far you are going to go, you then need to clamp the
Kantele while you saw out at a 45 degree angle (please note I have unclamped it to take the picture!)

Make a series of cuts. The more you make the easier it will be to use your chisel.

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With the wood clamped to a bench use a 12mm chisel with the blade bevel up. You may find a
wooden mallet useful!! Once the rough shape is determined you can use a wider chisel with a freshly
honed edge.
Once this is done and you have sanded the inside edges flat you can glue the top and the bottom together.
I recommend Titebond glue for this project because of its strength and speed of drying

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Leave the clamps on for at least an hour (at 21 C) and then remove them and clean up any final glue
spills on the inside, the glue will still be soft.
Save sawing and sanding the instrument to shape until the next day as the glue needs time to harden.

It is now time to really define your instrument s character! If your instrument is slighter larger or smaller
than your original template do not worry, try to sand it as closely as possible to the original form.

Its at this stage I like to add an inlay to this type of Kantele, you can either buy Inlay from your supplier
or make your own.
One simple way is to hand plane a piece of maple to around 1-2mm, and then glue this between a
sandwich of darker veneers:

It s a good idea to check what size routerbits you have first!

If you don t have a router you could make the groove for the inlay with 2 careful knife cuts, chiselling out
the wood in between. You can use violin purfling chisels for this.

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Dry fit it before gluing!

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Method 2 Hollowed out/dugout version

For my bench drill method you need 2 identical Forstner 1 bits. Grind or file off the point of one of
them so that it drills a flat bottomed hole.
Make the wood blank as in method 1 using template and tracing paper .

Set your bench drills so that the 1 forstner bit point is around 3/8 (10mm) short of the bottom, either
using the depth guide on the drill or the maximum extension of the drill.

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You then proceed to drill out using the slowest speed setting, slightly interlocking the cuts.
Insert the adapted 1 forster bit and set it to within a fraction of the depth of your soundboard. Retrace
your path from before, gradually levelling the wood all over.

Once the drilling is completed you clamp your Kantele to a bench and use a wood chisel with the bevelled
edge facing the bottom to lightly remove any remaining pieces.
Once this is done you need to hone your chisel and then remove the extra wood on the sides keeping your
chisel with the flat of the blade against the side as you press down.
If you wish to hollow out the area underneath the bridge you can do this now.
First drill several holes at a 45 angle to help chiselling and then use your chisel and a mallet. (you are
trying to achieve a shape like the sawn and chiselled version in method 1) This can be very hard work
because of the end grain.

Some people at this stage will happily take out their heavy-duty router and set up a template to
straighten out the inside edges quickly. If you are confident to do this then please proceed. I often
accomplish this with chisels, files and scrapers. Go to page 19

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This can be quite a useful method to construct if you don t have thick planks of wood, or if you want to
mix your timbers.
This method also has the advantage of giving you a perfectly flat inner space very easily.

You will need to build up clamping blocks for gluing together angled pieces, and you will need a fair
number of clamps.
Make sure the grain flows in the same general direction, or when the wood expands/contracts it will be
vulnerable to cracking.

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The end result should look the same as the other methods
Clean up and inlay as before

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You now have your basic Kantele shape.

This next step is the most vital.
Begin by using your tracing to put back the marks of the 1st and 5th tuning pin positions.
1. Measure between the 1st and the 5th and keeping your ruler straight, make a mark halfway, this
will be tuning pin 3.
2. Measure between the 1st and 3rd and making a mark at the centre of these
3. Do the same with the 3rd and the 5th,
4. Use your bradawl to mark these points accurately for the drill.

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Zither tuning Pins and Keys

There are two types of Zither pin commonly available, one has a Blued steel finish, the other is Nickel
plated.
I have mainly used the blued steel pins, which I think offer slightly better resistance to corrosion in damp
conditions (not that you will ever expose your instruments to such extremes!)
A harp I made in my teens spent 10 years in a loft and the only pins that rusted were the gold plated ones!
Nickel looks good and its cheaper, its your decision!

I tend to prefer the T handled type of key as it offers a good hold. In the picture you can also see a
plumbling radiator key. From time to time (emergency) when I run out of keys I adapt one of these by
epoxying packing pieces of sheet brass inside to make the socket 5mm.

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You will need to drill a test hole to check for fit. You can use some scrap wood of the same timber for
this.
For Maple or Beech you generally use a 3/16 bit
It should have a firm but not too firm grip.
I have a selection of drills from 4.3mm, 4.4, 4.65 up to 4.7mm, generally the softer the timber the smaller
the hole required.

0
0
0
1 2 3
If you need to reinforce the wood you will need to only drill small 3mm pilot holes for now as you will
bush the instrument later after the rebate has been sawn and planed/sanded. (see page 27)

Having selected the right drill bit you will need to drill with care, You don t want your kantele moving
while you drill so if you can, position it and then clamp it to the drilling table.

Once all the holes are drilled you can put an 8mm Forstner bit in the bench drill and drill the eye of the
bird, this really defines the character of the head.

For the string-bar you will need either a 6mm or steel rod and the drill size to match it.
Hacksaw the rod to size after the instruments construction is complete.
Select a Block of timber of around thickness with a square edge, checking the size and hole placement
with the drawing and your template/tracings.. Insert the drill bit in the bench drill and clamp the timber

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so it is fixed in position using blocks on the drilling table. You may only be able to drill a short way, as
most smaller Bench drills have only 50mm 2 of travel.
What I normally do is remove the wood and clamp in a woodworking vice and drill the remainder with an
electric drill.
Then re-draw the tailpiece shape and cut out the centre with a large 2 Forstner bit, or circle cutter or, (as
I used to) band saw and bobbin sander.

Once the centre is cut out the ends need sanding to shape. At this stage I normally sand the bridge bar
hollow with 120grit through to240 grit and apply either a shellac sanding sealer or oil finish. You must be
careful only to finish the circle sides and not the underneath as this will hamper gluing later.

Before we glue the tailpiece on we need to sand the top and apply a sealing coat to protect it,
I usually begin with 150grit and work all the way up to 320grit, if you are using a wood like oak or ash or
Hickory you may find 180grit is fine enough.
Clamping the tailpiece in position apply some sealant (shellac ss), as before, to the whole of the top
surface. Do not get any under the tailpiece for ease of gluing.
You can now glue and clamp the tailpiece to the body. I tend to use 1 large G cramp in the centre and 2
Wolfcraft quickclamps on either side of the string bar.

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The next day you can saw the undercut and the top curve with either a bandsaw or coping saw.

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Most of the hard work can be done with a foam type bobbin sanding attachment for your Bench Drill
(below)

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Cutting the head rebate

The next stage of construction completes the woodworking part of the project!
Mark on the back of the head the saw lines in pencil, you will not be cutting exactly on these lines but just
in front to leave room for planing/sanding and error!

I like to put my Kantele face down on a board with cramps to hold it while cutting the first cut from the
back,
The second cut I change positions and put the kantele in a woodworking vice.
Take you time here and stop frequently to see how much you have cut.
If everything goes well you will have a little block of wood coming off.

To smooth the wood I use a combination of a shoulder plane (homemade) and block plane.
Since the grain is mainly end grain I do not recommend routing, you can use coarse sandpapers and
cork/wooden blocks or even surforms.

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1 2 3
If you are using a very soft wood you may like to bush your holes as mentioned in the wood section.
Make your bushings from beech or maple, (make sure the grain is side grain and not end grain.) using a
plug cutter. When you have selected the drill size that corresponds, drill out the hole from the back
around 10mm or so to match your plugs. Glue these in position with the grain following the same
direction as the rest of the instrument. When they are dry rest the kantele on a support, cramp and
carefully drill out the pilot holes from the front to the size required. (3/16 or less.)
You can now sand the head area the same way as you did the top.

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4
On the drawings you can see litle semi-round dots on the bottom, these are rubber self adhesive pads sold
in most hardware stores, they keep the instrument resonating clear when played on the table.
Some other older instruments like the epinette des Vosges were made with solid points underneath so that
the instrument used the tabletop as part of the acoustic makeup of the sound. I find with the kantele the
sound is quite poor with direct contact, and is totally dependent on what the table is made of.
With the rubber feet the table acts as a reflector of sound, like a banjo resonator.
This is the last thing you need to add before finishing with oil varnish, but if French polishing you can
add them later.

Finish protects the wood from climate extremes, protects it from harm, dampens some of the higher
harmonics, and makes the instrument look great.
The simplest finish to apply is oil. I used to use Danish oil, with the first 2 or 3 coats thinned 50/50 with
turpentine, but now I use an Australian product called Organoil, which is basically a tung oil finish but
instead of dangerous thinners it uses Citrus oil! It makes the workshop smell of oranges! You apply it
with a rag, leave for 20 minutes to an hour, then wipe off the remainder, leave a day and repeat a few
times. Highly recommended! Don t forget to leave those oily rags laying out flat to dry before
disposal/re-use as they can ignite if scrunched up and left in a pile.

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My custom models these days tend to get the French polish treatment, which I will not go into here as the
process is covered very well on the Internet.

For porous timbers I simply seal with shellac based sanding sealer and then apply beeswax based wax
polish.

Stringing and setting up

You have come a long way, well done!
You can now measure and cut your Steel Bar to shape with your Hacksaw, I usually fine sand them with
800 grit wet and dry paper to give a slightly matt finish to remove any oil and to help the strings grip.
Very lightly tap the bar through with a light wooden block if necessary, it shouldn t be necessary to
epoxy it in place if all has gone well.

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$ 5

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The normal recommended stringing for these Kanteles are 0.014 (0.36mm) strings throughout, this
equates to Gauge #5 Piano wire.
For my own Kanteles I often use slightly thicker stringing, up to 0.40 or 0.45mm, these seem to work
well for me, but bear in mind thicker strings are harder to make and work with.
You can alternatively order sets of strings for these instruments (see page 45)

The cut ends of the steel strings are razor sharp, Wear safely gloves and goggles!

If you look up Harp/Harpsichord makers on the Internet you will find quite sophisticated string winders,
You can even buy beautifully crafted tools made by Portuguese makers for their mandolin family
instruments, try alicates or Guitarras string winder on google to see a good example.
My version is rather low tech made of a 4mm steel rod hammered to shape inserted into a routed groove
and sealed with a packing piece, there is a washer on the back hammered on to limit the amount of lateral
play.

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Cut off a length of music wire a few inches over length. Clamp one end down on the bench between 2
pieces of cork or hardboard. I put my winder in a vice and use pliers to hold the end of the string.

You then turn the handle while keeping the pressure on with the pliers.
How many turns can vary with the string diameter, try between 5 and 8.
Some makers like to double back on themselves before cutting the end off.

Once the turns are made cut the wire off as close as you can to the coil. Carefully release the tension to
release the string.
Try to keep the string loop at small as possible and your turns even. The more strings you make the
easier it will get.

I always use a soundboard guard when putting strings on. Mine is made from a cork tile but corrugated
card can work fine.
It really is worthwhile making especially if you have an instrument with a softwood top. You need to
make the guard fit inside your tailpiece area. Use thin paper to make a template then cut the thicker

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guard using the template. You need to make the soundboard guard fractionally smaller than the template
so you can easily insert the thicker material.

The triangular shape means you can easily insert the soundboard guard!

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Because you are bending the string around the string bar you will need to pre bend the loop end on all but
the thinnest gauges of string. To do this you can use small round nosed pliers. Clamping the loop with
the pliers you pull the string and twist the tool. Bend it just a little.

#
Having the string guard in place you insert the string from behind the bar with the loop pointing up.

When the loop touches the guard you slide it until it passes under and through the bar
Holding the loop you use your other hand to insert the loose end of the string into the loop.
Pull the string until the string is as tight as you can get it.

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Make sure the zither tuning pin has its hole facing the string and insert the string. This time pull the
string with the pliers until it is tight. Use the tuning key to turn the tuning pin a little, (turn it so that the
string is on the same side as the other strings)
The loose end of the string can now be looped around the post and re-fed into the hole
You can now bring the string up to pitch.

It is most important that you turn the tuning peg with small movements at a time while plucking the
string, think of the tuning pin like a clock and turn it from 12 to 1 o clock and so on. You should notice
that the string has tightened round the bar more now. Trim the loose end with flush cutting pliers so there
are no sharp edges.
When stringing a 5 string I put strings 1 and 5 first, making sure that the string isn t touching the wood.
The 3rd string goes in the middle of these strings, you then put the 2nd and 4th strings.
Tuning pitch
My website download section has a tuning section to listen to.
Personally I normally use a D penny whistle for tuning.
With 6 fingers on it gives you the longest string pitch, 5 fingers on gives you the 2nd string E
I then tune string 4 (g) with 3 fingers on.
Then string 5(a) with 2 fingers.
The middle string is either tuned to F# or F depending on whether you are playing a major or minor key.

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I normally gently tug the strings to help stretch the string and hasten the settling in process. You pull just
a little so that the string drops a semitone or so in pitch, this is also a useful method of fine-tuning if you
have a string that always tunes a few cents sharp or flat. After a few days you should find the tuning has
stabilised.

## )

The 10 String Kantele is constructed in the same way as the 5 string.

I like to use a contrasting wood at the head end because otherwise there is a large plain area.
The instrument in these pictures was made using method 1

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While we almost always use the same gauge of string on the 5 string on the 10 string we use a variety of
gauges.
You can buy guitar strings in different gauges for the same note, the same is true here, My stringing is at
the heavier end of the scale, you could go lighter.
These are the gauges I use for my 10 string Kanteles
(From low A to high d)
String 1
String 2
String 3
String 4
String 5
String 6
String 7
String 8
String 9
String 10

0.62mm (.024 approx)

0.58mm
0.50mm
0.50mm
0.45mm
0.45mm
0.45mm
0.40mm
0.40mm
0.35mm (0.14 approx)

For this method more preparation is needed and care in marking and laying out and clamping
while gluing. I would advise you follow the instructions given for the drawing on page 18 and make
your own tracings. You can alternatively scale up the drawing on the following page:

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+&

The string layout I have suggested is one where all the peg holes are equally spaced, for me this visually
works best and the slight difference in the spacing of the strings is not hard to get used to. The other
method you might like to know about is where you draw out the spacing of the strings on a sheet of paper
and mark the string spacing out evenly and then see where the peg positions are. You will find the
spacing at the peg end is different; both methods have been used over time.
Many makers add a central reinforcement to the tailpiece of their 10 string Kanteles, this works to prevent
the bar from warping. I think my model is fine without, especially with the hardened steel you can get
from model shops, but if you have a larger width of tailpiece it might be worth considering.

'
Once you understand the basic principles it it is not hard to see how you could extend the 10 string design
to say a 15 string Kantele, or the 5 string to a 6 or7 string (quite popular in some of the other Baltic
Countries)
With a 15 string the tailpiece reinforcement mentioned previously is quite necessary.
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You have more options with stringing, either 5 extra bass strings or 4 bass strings and an extended note at
the higher end.

(
The hallmarks of my custom model Kanteles are the inlays and bindings I use, and the contrasting/mixed
timbers and Cedar soundboards. There is a lot of scope here for your own creativity. Luthier supply
shops have a wide assortment of Binding material and the necessary tools.

"
Looking at pictures of older Kanteles that were hewn out of a single piece of wood you can see that there
is a natural taper with the head end being deeper, this is a natural consequence of getting the tailpiece out
of the same block of wood.
I have done it once! To clean out the tailpiece and soundboard takes s a lot of care and time, you have to
admire the skill and patience of the early makers.

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I still occasionally make Kanteles with a back board, all my early models were in this style, with thinner
pieces for the top and bottom, 3mm for the top and 3.5 for the back.
I prefer to put my sound holes discreetly on the back but you can put them on the soundboard (top).
I use a 25mm Forstner bit to make the hole and a larger sized (28mm) bit to make a rebate for edging
reinforcement (not necessary on hardwood, but decorative)
I think Kanteles made of thinner woods play in faster. The thicker topped open backed models take longer
to play in.
(By playing in I mean the mellowing and settling down of the instruments tone that occurs over the first
few months)
You can get more variety of tone from the open backed, but as to which is better

)
$

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UK:
Early Music Shop www.e-m-s.com/
Hobgoblin Music shop www.Hobgoblin.co.uk
USA:
Elderly music (www.elderly.com)
Robinsons Harps (www.robinsonharp.com)
Gerry Henkel (Strings) www.kantele.com
Australia:
Pat Sephton(Harps), www.sutherland-studios.com.au/harps/

UK
www.axminster.co.uk
USA
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