One last piece of info. Here is a graph given to me by the late great and missed Richard Morse which has been uploaded before. The first pic is raw data, the second smoothed. In the first you can see the variation that comes from hand made reeds.
That's brilliant, Chris. I don't suppose you have a higher resolution version of this graph; I can't quite make out the labels?
This is not the one Rich sent me, I lost that in the great computer crash of 2thousand and something. I picked it up again from somewhere online, I think here, but my recollection is it was always this resolution. It never mattered to me what the figures were, the best thing about it is, it allows you to explain the shape of reeds to people very easily. If it is the meaning of the axes you need I can tell you them, roots to the left, tips to the right, bass to the back, treble to the front. The lengths are shown as visually the same, represented as a percentage.
If anyone wants the thicknesses of the reeds can I recommend two things, firstly as this thread shows it is easy to get detailed info yourself, while it takes time if you can't spend that much time then you won't get a concertina made, and in gathering the info you will learn much more. You will need to prepare to be confounded by the roughness of the data. Secondly, though this graph is from a Jeffries, it is better not to measure Jeffries concertinas as a starting point. While I cannot speak for everyone, I can't think of a maker I know who makes anglos with only 9 reed frame sizes. I do know a few who started off intending to make 9, myself included, but they all expanded their frame sizes to as many as possible because it makes good reed making considerably easier.
The thing is, Jeffries best reed makers were astounding good. They could fit into a single size of reed frame not only the wider range of pitches needed if you only have 9 where the rivals have up to 19, they could also do it for other keys of concertina. My Af/Ef has the same size reed frames as a C/G in the same positions, it is just the pitches that are different. However the reeds they made, even though they are acceptable when in a fabled concertina, in fact are part of the charm, would not be acceptable in a good modern concertina. Talking of good Jeffries reeds, that is to say ignoring about 25% of Jeffries concertinas, the clearances are often OK, but they are too pitch unstable. There are number of people today making much better reeds.