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  2. Yes I have slid a thin blade and hopefully the glue is not as strong, but I can only reach few centimetres with the blade; there is also glue around the circle in the middle. Thanks for your recommendation, I will try with water first and see what happens. The glue is pretty dry. I might have to remove the reeds first.
  3. Good idea about cutting the chamois from the partitions to get it apart. I have found white glue will dissolve white glue but it is not an easy or clean process. Heat certainly softens it.
  4. Today
  5. Heres some audio clips: Tunes: https://www.dropbox.com/s/v0w2h6hyb400cki/20200116_113303.mp4?dl=0 https://www.dropbox.com/s/76mjphcghfgmjnu/20200116_113117.mp4?dl=0 Scale: https://www.dropbox.com/s/dprdmz2h55if1ro/20200116_112939.mp4?dl=0
  6. You do appear to have a problem. If it was mine I would try lightly painting on (or using a soaked cotton bud) different solvents on the white areas visible around the interface between the reed pan and pad frame e.g. acetone, white spirit, turps, even water, to see if any of them have any effect. Is there any way of sliding a thin blade between the reed pan and the frame while you are trying to release the glue to act as a lever to separate the sections? Does the glue react to heat? A hair drier may help as well. Another thought is that the glue attaching the chamois seal to the reed pan is likely to be original and thus either water soluble or heat sensitive or both so trying to remove the chamois from the reed pan may be an easier option, especially as the chamois is most likely to be scrap anyway, Again a thin blade may be used judiciously. Cleaning up the bottom of the action board afterwards should be relatively easy once they are separated. For the other reed pan that you cannot yet remove, try soaking it in a humid or solvent enriched atmosphere, e.g. a damp/solvent impregnated cloth in a bag plus the bellows etc., tie a knot in the end and gently warm and leave for a couple of hours or more. With treatment like this the metal parts at least should be unaffected even if the wooden parts do warp slightly, and these latter bits can be carefully dried out and flattened. Hopefully others will have better ideas and options. Anyway best of luck with your endeavours. Mike
  7. Hi everyone, I have just received a Lachenal Anglo Concertina that came all way from Finland, and I’m having a big trouble with it: The reed pan is literally glued to the pad board and I can’t access the chamber side. Someone has put some sort of white glue to the chamois leather of the chamber walls and now it’s stuck to the pad board. On the other ends I can’t even remove the reed pan from the bellows... Has anyone ever come across this problem? I was thinking about using some sort of lubricant but I’m afraid this could affect the wood or the reeds. I would really appreciate some help. Thanks Roger
  8. In Wheatstone's own terminology, for the same fingering as a treble, a "baritone" sounds an octave lower, regardless of the button count. If, instead, the lower notes are positioned as a downward extension from the standard treble, essentially a further extension of the "tenor-treble" concept, Wheatstone called it a "baritone-treble", not just a "baritone". In that case, each lower note is on the opposite end of the instrument from a plain "baritone", but the treble notes are each on the same end as on a standard "treble". In my experience, the only other variant of the English system for which the term "baritone" is used is the "bass-baritone", which has standard "baritone" fingering and range, but extends downward into the bass range, just as the "tenor-treble" extends the treble downward into the "tenor" range. I.e., the "bass-baritone" is essentially an octave-lower version of the "tenor-treble", just as the standard "baritone" is an octave-lower version of the "treble".
  9. For me French Polish is the way to go. The shellac flakes can be bought in a range of colours and depending on the amount of time you want to spend working on the finish you can achieve a range of finishes from a dull lustre to a high gloss finish. My personal preference is for the Blonde flakes, which result in a very attractive golden polish that allows the beauty of the grain to come through. Attached is a pic of one I finished last year, in Blonde. The instrument is mahogany, badged as Campbells of Glasgow but is probably a Lachenal? I also like to finish both ends the same, so even if one of the ends doesn't require any work there is a good opportunity to repolish it the same shellac. There is a lot of myth around french polishing but with some basis tuition and a bit of practical experience you can get surprisingly good results. I did a refresher course for a day with an ex-luthier in Lincoln and an very encouraged by the results I am now getting. In fact, this is my favourite part of renovating a concertina.
  10. Just picking up this thread after hearing a science programme on BBC radio 4 yesterday. The Aeolus concerned here was the Greek God of the winds. Apparently there are 2 others sharing the name. Aeolus was a name given to three mythical characters, but their myths are deeply intertwined in such a fashion that the characters are often difficult to tell apart. However, the most famous of them was the son of Hippotes that is mentioned in Homer's Odyssey as the Keeper of the Winds; in this myth, Aeolus gave Odysseus a closed bag that contained all winds, but for the gentle West Wind that would take him home. However, Odysseus' companions, thinking the bag contained riches, opened the bag and the winds escaped, blowing the ship in all directions and thus extending their voyage back home. Aeolus was later considered to have been a god rather than a mortal as depicted in the Odyssey. He had twelve children, six sons and six daughters. Another Aeolus was the son of Hellen and Orseis, and ruler of Aeolia. He married Enarete, with whom he had numerous children, including Sisyphus, Athamas, Cretheus, and Salmoneus. Finally, the third character with the same name was the son of Poseidon and Arne, and was often indistinguishable from the first Aeolus, keeper of the winds. Presumably Sir Charles had read about Greek gods when selecting the name Aeola. I was going to start a new topic, but thought I should search first, in case it had come up before. - John Wild
  11. I managed to replicate the 'finish' on my 1923 Lachenal using a generic French polish.....but.....when stripped (entirely down to bare wood ) it became apparent that the original FP included a pigment/stain. As I only needed to re-finish one end the difference is obvious. Personally, I think the FP'd "natural" mahogany is very attractive but it is not original, or matched on mine. I used late 1800's Mahogany for the infill work which is a perfect match ( from a re-claimed, machined down Parquet tile ) If required - FP plus appropriate pigment (or pre-pigmented FP ) would appear to be 'a' way to go. Images are in current listing as below. (Ignore the matt black Anglo image)
  12. I usually finish ends by French polishing.
  13. Surrey Street Music Hall, later Sheffield Public Lending Library, where the 'introduction' took place
  14. This may be a question that has been answered before on C.net but I have failed (maybe due to not searching properly) to find a relevant thread. I am restoring a mahogany ended 20b Lanchenal Anglo that has needed some heavy TLC on its ends (water damage, lost fretwork, loss of end bolt holes etc). The repairs have been done and the ends are back to bare wood - I now need to finish them. I have experimented with various approaches in the past but never really come up with a method that gives a simple, good looking, durable finis. I would be grateful to hear of any tried and tested methods (sequence from bare wood to final finish) of finishing. Many thanks, Neil
  15. This one does... 48 key, one octave below treble.
  16. Yesterday
  17. Playing the same melody along with the voice does risk muddling the sound a bit, making it more difficult for listeners to hear the words. Instead, I sometimes play through the melody just on the concertina for a verse and chorus, then sing unaccompanied on the verses and the first time through the chorus, then play along on subsequent choruses. (particularly in a situation where other people are joining in on the choruses, such as a shanty.) Then I perhaps play through the melody of the verse again with just the concertina somewhere in the middle, if the piece warrants it, and play verse and chorus again at the end. This is a good test of whether you can hold your pitch without dropping after singing a few verses! Not exactly what you were asking, and I play Anglo, not English, but hopefully useful. If you can play softly enough, then playing the melody while singing can work, but be sensitive that while you know the words, the listeners don't yet, so you need to sing out, and clearly. Even better if you can weave a counter-melody instead of playing the same main melody as your voice. Such a counter-melody can then be played along with the main melody for any instrumental bits too, if you are up to playing both together, but the combination will likely be too much to sing against. Sorry no specific examples to offer. Perhaps try playing the tenor lines in Christmas hymns while singing the melody to get an idea of the style?
  18. Can you tell me whether the fingering is the same as treble but an octave lower? len
  19. I do this mostly for haunting ballads and songs that are usually done acapella where the timing and melody can wander at the whim of the singer. Doesn't have to follow the voice exactly and add a changing (sparse) drone or two, either high or low or both. I see you're in Maine; lots of great songs from the north woods lumber camps are good this way. Search for "the Lumberman's Alphabet" or "the Spring of '65", or try a nice slow "Rollin' Down to Old Maui" . Singing like that with the fiddle is great too.
  20. Does look like a Stagi bass, and in grave danger below the dart board, if the huge dart stuck in the table is representative. (Not to mention the axe stuck in the wall above it!) I agree people have been drunk here plenty of times, but pirates? I'm thinking hunters/fishermen, or possibly lumberjacks. I'm trying to reconcile the location - The skis suggest somewhere in the north, the higher mountainside seen through the window appears dusted with snow, but the trees are green and the water isn't frozen. Moose and fish trophies also look like from Northern USA or Canada, but could have been acquired there and brought in. The bird on the chair looks tropical, although could be a pet out of the cage. That spider is huge, so also tropical, and the bird is at risk! The plate of chicken and waffles on the table suggests southern USA, although I've not seen that served with just a large spoon before. Not even there.
  21. A friend is selling an early ebony-ended baritone ( 23875 ) in good original condition ( old-pitch, 5 fold bellows ). As you can see it has the rare reduced fretwork of the time. Contact me ( pm ) for more details or pics... Price: 2950€ / 2500 Pound
  22. There isn't a right answer to that question, but from my perspective (I'm a similar age), I would go wider (new tunes) rather than deeper. I have a tunebook with some 600 tunes (Paul Hardy's Session Tunebook - free to download). If someone was to start any of those tunes, I could join in and make a fair stab at playing by ear, and I could play any of them reasonably well from the dots. However there are probably only a couple of dozen that I could pick up an instrument and start playing without dots or prompt, and to vary the playing style spontaneously. To me, that width is valuable, and more valuable than being able to play more tunes by ear spontaneously without the dots. For other people, the important metric is to be able to play a small number of tunes totally by ear and unprompted, and in different styles, and to be able to perform them in public. I do recommend taking a well-known tune and playing it in different keys, and in different rhythms (straight or Hornpipe swung), playing it while reciting the alphabet, or any other way of ensuring it is engraved in your deep memory. However, playing a variety of tunes lets you learn the standard patterns of notes that turn up in lots of tunes, and hence make it much easier to pick up new tunes. Best wishes for your future playing.
  23. Notemaker I have just started on my first set of bellows and have gone through a similar process to keep the costs down as far as possible. I've had to compromise quite a bit, but have got all the bits now. The cambric tape I bought came from a retailer of preservation equipment here in the UK, priced at £8.95 for 9 metres. https://www.preservationequipment.com/Catalogue/Conservation-Materials/Labels-Tapes/Gummed-Linen-Hinging-Tape It gets much cheaper if you scale up. We don't have the same options on UK Amazon as you do in the US, and would have to pay import/shipping cost to import.
  24. I use about 20mm wide strips for the peak and valley hinges. The strips that connect the bellows frames to the end cards are the depth of the frame + about 10mm. I use a thin but very strong linen cloth sold in the UK under the "Fraynot" brand; presumably you can find something similar locally. I cut the strips on the bias (i.e. at 45º to the warp). I attach them using rabbit skin glue brushed onto the cards, trying not to get any on the hinge part of the cloth. On one set of bellows I tried something that looked similar to your second link. It had a rubbery glue already applied to the tape. It was a pain to use because it stuck instantly to the card and couldn't be repositioned, and the resulting hinges were quite bulky and stiff compared to what I normally use.
  25. I use 1" binding tape from a sewing shop. It seems to be very similar to what Jeffries used.
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