Hello all,
I agree with Rich Morse that very heavy buttons can feel a little slower (on very fast operations, like triplets and other ornaments), especially if you have previously learned your technique and timing on an instrument with light buttons, and like Rich I have speculated that this apparent "slowness" is due to increased button inertia. I'm sure there is an interaction here with spring characteristics. The heaviest-buttoned concertinas I have played are the Jeffries marked with the Praed St. address in the oval; these buttons are solid nickel-silver and larger diameter than the earlier Jeffries solid metal buttons. With practice, though, these instruments can be played blindingly fast and I have seen brilliant Irish players really go to town on these. I suspect that, as with spring pressure, instrument weight, bellows stiffness, reed stiffness, and other factors that seem to generate a feeling of "resistance," the subjective "action slowness" of heavy buttons may be more frustrating to amateur and beginning players wanting to play "faster than they should" -- i. e., faster than they can control. Of course, even great players may be able to work light buttons a little faster, all things being equal, and may prefer them (as I do, though I'm not great!). I would never write off one of these Jeffries with heavy buttons, though, as having slow actions; if you practice on them to accomodate to their timing, their action will be much faster than most of us need. And the large size (for finger comfort) and durability of these are both positive factors for many (and may have been the basis for Jeffries' switch to this size). I always enjoy playing on a good Praed St. Jeffries!
Before leaving the subject of subjective action weight and speed (as influenced by button weight) we should remember that for keyboard instruments the minimum weight and pressure are not always desirable for best action, as judged by a serious player. The cheapest electronic keyboards have very light (and lightly sprung) keys, but serious players often pay ten to a hundred times more for a much heavier electronic instrument with weighted keys (with appreciably more inertia) and heavier resistance to finger touch. Then remember that a concert grand piano may have an action that is almost unplayably heavy and stiff for even many good amateur pianists -- yet this is what the really fine players demand. (On the other hand as well as my heavy Yamaha EP with weighted keys, I love my 1954 Hammond B2 organ with a featherlight touch -- for a totally different style of playing).
I have been talking about the effect of button weight on subjective action speed. But as noted by others, these heavy buttons (particularly in the 45 + keyed Jeffries duets and anglos with the Praed St. stamp) also contribute a lot to the overall weight of the instrument. Unlike the pianists, we are supporting some of the weight of a concertina when we play! I know anglo players with the PS-stamped Jeffries who have removed the buttons they don't use (beyond 31 or so) and found the whole instrument substantially lighter.
To answer Goran in advance, yes, I have tried a few substitution experiments and, with my particular styles and techniques, I can detect both of the effects noted above on individual instruments when changing only the buttons and nothing else. However, as I suggested above, whether or not you detect an effect of the substitution will probably depend on how you operate the instrument and how sensitive you are. As well, with time and practice to adjust your technique to a different button type, you may find a button type that was initially "worse" becomes "just as good" or even "better" subjectively. Many newcomers to any instrument are "over-sensitive" to details to which an experienced player can easily accomodate (again, like the teenager who can only drive the family car and is freaked out by standard vs. automatic, column v s. floor shift, etc.). On the other hand, many excellent and very experienced players develop a need for very precise specifications to achieve the results they like.
I usually advise students to develop the ability to accomodate to different instruments, not getting too "hung up" on particular personal specifications until they have a few years' experience . Since (with guidance from a teacher) most players can learn to operate most of the concertinas out there (assuming they are quality instruments in good condition), this means that beginners can agonize less about the details of their first (or second) learner instrument and just get on with practicing!
Just my $.02!
Paul
Edited by Paul Groff, 05 January 2004 - 09:54 AM.
