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  2. Vince, it may be helpful if you let us know know specifically what kind of info you are looking for. What I would say (in my limited experience) is that of the "major/ common" duet systems (Hayden/ maccan/ Crane). You are likely to find that Crane is the least popular. Hayden is the current "modern" offering. And could be ramping up with modem builders making current instruments. This will generally, lead to more learning resources and teachers. Maccan, which ( I think) was the most popular in the Concertina heyday. You will find the most offerings of instruments at the least pricing. Crane, tends to be the black sheep. Offerings are slim. Learning resources are not plentiful. BUT, at least to me coming from EC. The system just makes sense and clicks. And I feel like I am making progress. And I really like it. If you are looking for a Crane, Look here, Facebook, Barley corn, etc. But, those will all be vintage/ old and used instruments, so quality, use/ abuse, repairs will all be part of the journey. You may seriously consider looking at Edward Jay's modern offerings. It is NOT traditional. But would be a brand new instrument. And That does have a lot going for it. As Cranes tend to be difficult to find. Putting down the money up front (rather than starting cheap and trading up) may be a better short/ medium term solution.
  3. PM me your email address and I'll add you to the list!
  4. Steve - Go to http://www.concertina.com/crane-duet/index.htm for the Butterworth patent, and the Crane tutor of the same year.
  5. What a super find. Can you maybe scan the document and make it available to the International Concertina Association library? I'd also appreciate a copy for my own records and research. Thanks
  6. You are very right of course. I just wanted to comment on my "mechanical immobilization device" here - only the tip of the thumb is immobilised completely, the rest of the thumb movement is restricted to a single plane, and the rest of the hand has more freedom, than on an English with pinky rest. I don't know any technique, neither fingering nor bellows, that is impaired by this "device".
  7. I believe the above subclause is more or less the key - "the right tool for the right job." With my "bread and butter repertoire," there are considerable advantages to reducing the number of buttons, for both logistic (weight and size) and playability (reduction of getting lost potential) reasons, acknowledging that your mechanical immobilization device may or may not relieve my "getting lost problem," but I need the mobility for sound effect generation reasons. So to summarize, may I quote you from your earlier contrib in this thread: "It all boils down to desired repertoire really. If you want to play rich accordion-like arrangements or classical music, larger box is better. If you want to play mostly trad music, smaller box will likely be enough and come in a lightweight and small package."
  8. …and to complete melody as well. This is the second biggest annoyance with to few buttons - when you play a steady rhythm on the LH but must interrupt it or grow new fingers for those few odd melody notes that go below C4… One of the tunes I play is „Two guitars”, where melody line goes up to D6 and down to A3. Same with the „Riverside” mentioned above, down to A3… Or another tune, „Last Waltz” from Oldboy movie, where on 46b I’m missing just a single Eb4 on the RH. I can dive in on the LH for those, but at the expense of accompaniment fluidity. With my desired repertoire there is simply no such thing as „too many buttons”. And a word about getting lost - this is where my rigid thumb „thimble” and antler handling system beats both handstrap and thumbstrap/wrist strap solutions - it has no play, what you feel on your palm, together with the angles in the thumb give you absolute positioning. I’m only having some troubles with a single, really long jump from Eb to G#, everything else is precise enough.
  9. If you're looking for a session of ITM, I believe the James Joyce Pub in Baltimore has sessions twice a month on the first and third Tuesday.
  10. Oh cool, well I’d really appreciate your consideration in letting me join the list! I am in Frederick County
  11. There's a very nice large one (Crabb 67 key) in the buy and sell section right now, but the mention of a PM means that it may already be finding a new home.
  12. I have a top of the range Colin Dipper Anglo G/D concertina - 34 button. It's a lovely instrument, but I hardly ever play it, so I'm thinking of selling. It's currently on Facebook Anglo Concertina with lots of photos at: https://www.facebook.com/groups/1470693809737508 My email is aqwc71@dsl.pipex.com
  13. There are several squeezers in Maryland.
  14. I am definitely finding quite a lot of times where due to lacking lows. And then inverting chords. I am running the left hands chords into the melody line. Or just as often, I am diving onto the left side I find myself diving onto the left side to complete right hand chords.
  15. Yes it's a melodeon; one of the one row variety. I have a book somewhere showing its general range, which was for other melodeon accordions too. I think they are quite straightforward to play, which does not that mean you cannot get a good tune from them.
  16. Yesterday
  17. Randy and I have done regional (Maryland / DC / Virginia) squeezebox gatherings and have a fairly extensive mailing list of players in the region.
  18. Andrew Norman makes a 20-button double-reeded anglo. See www.acnorman.co.uk. Peter
  19. One way I have found not to 'drownedout' the melody line with too much louder left hand chords, is to fractionally play the main melody line ever so slightly just before you add a chord. It is possible to do this, just before you add accompanying notes. And lifts the melody out to the ears, before powerful chords are added.
  20. Some years ago I purchased a double reeded 20 button German 'tina from Oliver Stoffregen (diatonie.de). It was a Silvetta model with some important improvements (limited button travel, equal temperament). After years of use it has become a bit unreliable, and I wonder if it is possible to get a similar instrument. Silvetta has ceased production. Stagi makes the C-2 & C-3 models, but I don't like their key lever mechanism, especially their wobbly buttons. Does anyone know where I could receive a double reeded 20 button concertina with limited button travel and equal temperament in new or as-new condition?
  21. Since that post of mine I bought a S/H Peacock. That's good for a year or ten. It would be interesting to know whether the Peacock XL is still on the stocks, though.
  22. Your best bet for finding an answer would be to email Concertina Connection at info@concertinaconnection.com and ask them about it.
  23. Exactly this. With less buttons I often had to move entire accompaniment up an octave to preserve those walkdowns, but it often comes with it’s own can of worms. Inversions also can go so close to the melody line, that a perfectly good large interval becomes too dissonant to work well, so you have to cut down. Because of this I will probably build an even larger box (in some rather distant future), going all way down to C2. I simply hate incomplete accompaniments. But I agree, that this kind of box would be unsuitable for typical concertina trad genres. @gcarrere I agree, that larger boxes are more static bellows movement wise, but you can very much compensate for that with more dynamic fingerings, especially on LH side, BUT it requires dropping a traditional handstrap for more ergonomic handling system, that allows for independent wrist movement. After all, accordions, which are way heavier and more cumbersome than concertinas are perfectly capable of really dynamic play.
  24. What a fascination and lucky discovery! As regards obtaining a Crane duet, you could try asking in the buy and sell section of this forum and/or you could try Barleycorn Concertinas. They have the largest selection of concertinas for sale in the world and are not too far from you. That said, Cranes are comparatively rare and Barleycorn might have only one or two, or even none at all!
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