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  1. Today
  2. As I mentioned in other threads, I'm a beginner player (not quite two months). I bought a Rochelle-2, had some difficulties with it, and soon traded up to a Concertine Italia/Stagi (traded "up" in terms of cost), which I soon had to return due to what I perceived as build quality issues. I did like the ergonomics of the CI/Stagi, though. I have big hands, and the button spread felt more spacious. Also, the hand rails were at least a centimeter higher. This was very comfortable for me. Getting the CI/Stagi back, it feels a bit cramped. Someone mentioned to me in a private message some time back that I might consider modifying the hand rails. Today, I did just that. I bought a length of half round trim and cut two 3.5-inch pieces and sanded the ends. Since the stock trim is a bit wider than the existing hand rails, I used a Dremel to grind the sides down a bit, to get them to fit. I'm not very handy with this sort of thing, but I was able to do this without too much trouble. I sanded the pieces down, roughed the surface of the existing hand rails, and glued the half rounds in place, using "oily welding glue". As you can see in the photo, I didn't paint them yet. I'll do that tomorrow. I checked some model building web sites and the consensus seems to be to glue first, then paint. I'm going to let it cure overnight before trying it, but the new height is almost exactly what it was on the CI/Stagi, so I should feel a bit less constricted on the inner row of buttons. It isn't expert joinery, but I'm not too worried about the aesthetics of it. After this, I doubt I'll ever be selling it. I just thought I'd post it for anyone who might be curious. Also, I've read here that some people find the Concertina Connection Minstrel also a bit confining for larger hands.
  3. The one I recently bought was stamped 14 July 2023 inside. I had to return it, due to problems with notes not sounding, or intermittently failing. After taking it back to the retailer twice for adjustments, I felt that my confidence in the build quality was too reduced for me to feel comfortable keeping it. In other respects, I quite liked it, and I sincerely hope my experience was an exception to the norm.
  4. Very nice, Alan! Just how old is it? And where were they based?
  5. Yesterday
  6. Two fingers? Try a three fingers and thumb roll close to the front edge of the key, which then leaves your hand well positioned for the arpeggio that follows.... (just saying, but getting a bit off-topic; sorry).
  7. It was that topic on this net. just of recent about composer wishing to write for concertina, and the flood or more 'ocean' of our enthusiastic responses in assisting their wishes. [They must therefore have been nearly 'drowned' in the myriad of advice received?!] Then I have also found in recently writing for two instruments [ in form of duo] not 'duets'. the Anglo to me is ideal in achieving this format. I think it is because of its left, and right-hand keyboard set up, with the bass notes to left, and higher notes to right which allows me to hear where one voice can go with another, on the one instrument. And then there's that characteristic way you can create a second voice by use of left hand whilst playing the right on melody line, as you go along. I see it very much as also a 'means to a goal' to achieve a creative objective, in music, just as anyone may well use a guitar and strum away, or keyboard. Also, I believe that in making your first new tunes on a different instrument you do find a different and novel way of approaching musical ideas, that maybe would not have become so apparent on the standard setup. My own 'duos' are really for any instrument combination, but I start them off on my trusted Anglo concertina often [with exception of lower tonal range tunes where I write them with my wooden chalumeau on occasions]. Either way writing using alternative instruments is a good way of seeing and hearing the world of music in a completely refreshing manner that I can only encourage, based on, and from my own experience.
  8. I had forgotten this lovely old cylinder Concertina Band recording. Worth a listen if you have not heard it Al
  9. I agree here - particularly as that is what I use my own concertina for a great deal - for writing music with also as well as enjoying playing written published music. Makes a change from using a keyboard or maybe guitar and gives a different approach to creating ideas.
  10. Thanks. Yes, I knew about the US but it has skipped my mind. Never heard of Carslfelders in Brasil!
  11. Chemnitzers (not Carlsfelders) are actively played in the upper Midwest area of the US, and Carlsfelders are actively played in a region of Brazil. I didn't realize that anyone was still playing them in Germany, though I know they were actively played in the Franken region until not too long ago.
  12. Thanks, everyone. I've now pretty much gotten myself oriented on the ipad and iphone versions of what I'm after. I appreciate your help. I will, however, keep my eyes peeled for an inexpensive something with a bellows, likely a used Elise ... Thanks, again. -- Joe Bartl
  13. What is the best way to preserve the bellows , some of them makes like a cracking noise if not played in a while
  14. Ah, sorry, I thought I was doing you a favour and sending a Scheffler player your way. Price wise, you can't have a market price for something that doesn't have a market - it's whatever somebody's prepared to pay for it. It's really not unusual for similar-ish "chemnitzers" (i.e. any cube that's not a bandoneon) to go for 300-500EUR in Germany. And Germany's probably the only place where folks play them.
  15. In fact Jackie had to learn to play the B/C to compete in the All Ireland, then packed it up on the spot and went back to his own C#/D style again.
  16. Thanks for the quick reply Frank. Sorry to be ignorant here, but what exactly am I looking for that would indicate that the reed shoe has "worked loose"? If the case, is the issue that the reed itself is loose in the shoe or that the shoe is loose? Is the reed attached to the shoe with a screw. Many thanks.
  17. @wunks that's nice (l heard the violin version). I'd love to play the Captain Pugwash theme, when l first heard it as a MIDI track online (re-heard, l knew it from my childhood but forgot), l tranced out and was unable to stop the looped audio. Maybe a duet concertina would be good for that, because of the staccato notes in each phrase, but it'd have to be keyed to the notes shared between each hand (that's the only occasion i'd want a piano accordion, l'd need only tap the piano key with two fingers to get the staccato ... btw l'm not an accordionist yet, but am considering taking it up)
  18. Andy, see my post re Thomman Lucan goosenecks. It was posted on 12th July this year in General Concertina Discussion. Dick.
  19. Careful....Contra-dancers are adrenaline junkies with a propensity toward mass hysteria. Halls have been known to implode into the basement...you could be stomped to death....or flung into the refreshment table at the very least! A beautiful waltz by Selma called April Waltz would be a good place to start. You can hear it on youtube 26th session 2023 lead by concertina player Jim Boyle...😀
  20. One thing to check would be if the reed shoe has worked loose. This is not unusual with concertinas which use the tapered traditional concertina reeds. You will have to remove the reed pan and check. I saw this happen at the Concertina Festival in Ennis Ireland, last April. Two excellent players had to bring their concertinas to a maker, who happened to be there, before they could play on stage, as a reed had worked loose on their vintage concertinas.
  21. Could do. With a magnetic tape mod to play mid-80s synthpop.
  22. Glad you liked the book. And your observations of the parallel between box playing and Irish concertina are spot on. We humans tend to love things to death, layering on complexity after complexity to things that could be simple! But we do enjoy it. I'm working now on a revised and much-expanded version of my 2005 book about William Kimber's playing, and am impressed yet again with his two row simplicity of accompaniment; modern players go for 38 buttons and their fingers roam freely over all three rows, in the eternal search for the right chord. And they sound great! But the minimalist in me continues to be drawn back to the simpler styles of farther back in time.
  23. Hi Dan, I enjoyed the book quite a bit. I chanced across a copy of The Flowing Tide when I was starting out playing 30 years ago and always fancied his playing. One thing I was curious about is how many of the observations or objections you have about how Chris played vs the cross row approach have exact parallels with the drama concerning the two button box tunings - people for a long time have found the B/C tuning too smooth, less suitable for dancing, that it emulates ornamentation from other instruments, that is the one and only way and that the C#/D tuning was outmoded - indeed you couldn't enter competitions for a long time without playing a B/C box. Things changed after Jackie Daly came along, thankfully. I assume you know all this, what with you having been playing the music for so long, and having an interest in accordions too. Perhaps it would have seemed out of place in a book about a concertina player.
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