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  2. How did you resolve it? Others who have a similar problem might like to know..... It is potentially useful to have a recording of a problem, then a solution. Steve
  3. there have been so many changes. I think most or all of the early ones were produced in bulk in concertina factories. They were made by skilled craftsmen but not in the same way as most of the modern ones which are often made by a single individual. Labour is more expensive these days. Customers have higher expectations all round. Concertinas are no longer a popular item, but a niche market for enthusiasts with very specific and refined tastes. From what I have seen, the best modern concertinas are cosmetically exquisite. The old ones were things of beauty, but in a more "standard issue" sort of way. Modern makers have a wider range of materials. This could go either way: choosing the very best of the new materials; or choosing cheaper options that are almost but not quite as good. Some of the traditional materials are harder to find. It would be very surprising if over 150 years of development, coupled with a market dominated by enthusiasts on both sides (production and purchase) had not resulted in the best modern instruments being better than the best Victorian specimens. However, it is very subjective. I have chosen my current fleet of 4 instruments on the basis of nebulous ideas of feel and soul. I was given the option of ones that were better "on paper" but I knew which ones I wanted. It takes a while to play a good instrument in. I'm sure that all instruments must peak when they reach a certain age, then gradually, er... gain character... at the expense of perfection. Perhaps most of the best modern ones are still in, or approaching, their peak, and most of the traditional ones are in that gradual decline.
  4. It's more or less direct quote, we didn't go into the details... As to the materials, this had been my own assumption, as I had been musing about the quality of steels, leathers etc. (possibly wood as well, which might be subject to more changes when new).
  5. "as good as or better" is a bit hard to define as peoples tastes are quite different, beyond a certain level of quality its sort of like art appreciation and it really depends what you play and what sort of feel and sound you want. In my opinion - without being too specific there are currently some makers producing instruments above and beyond what the first wave of makers made and I am very fond of these instruments. But someone else might very well say "oh well that is over the top how good does it need to be?".
  6. The pads may be old and compressed. Quick fix as Geoff suggests above. If the pads are old it may be beneficial in the longer term to replace all the pads.
  7. Hopefully, new pads would be thicker than original ones, so the button would be lowered, not raised. But the pivot post is the most likely culprit... either excessive wear, or coming loose and rising from the base board. If so, pull it out, apply a little dab of glue, and tap it back into place.
  8. All the buttons look quite high, with the pegs getting close to exiting their location holes. Could it be that your concertina has had ne Pads recently and with some settling of things the pads have flattened a little ? This would allow the buttons to rise. You might cure this in several ways; the simplest is to un glue the pad from the end of the lever and add a small piece of cardboard, leather etc . between the lever end and the pad. Other ways , like bending levers, are more complex. The other thing to look at is the lever pivot post.... has it come out ( lifted up) of its hole, even slightly ?
  9. Can you move the button so that the 'peg' fits correctly? Does it stay?
  10. I had a button that would catch sometimes, so I opened up the instrument to look at the mechanics. (See picture). I found that the small end of the peg was not sitting in the hole anymore and was moving around so that it catches the edge of the hole. Now- I don’t believe the button is any shorter than it used to be.. So why does it suddenly not fit into the hole? Does it have to do with the felt that wraps around the metal lever that goes through the button to operate the pad? Did the lever move to a higher position so that the end of the button peg can’t reach the hole? Thoughts? Anybody ever deal with this? Best, Eric
  11. PROBLEM RESOLVED. THANKS. Hello, Everyone. I have a Wheatstone Crane concertina that has a reed which is not firing properly. Sounds muted and a dull buzz. see video. I had taken the reed out and put it tightly in the slot again. But no luck. Any ideas? Best, Eric 56635836874__F6A258A6-E554-44DE-9164-EC968910C86F.MOV
  12. ... but if you have a problem, you can take it back to the maker ...
  13. Last week
  14. I have to keep it a bit cryptic here. A qualified person once told me that choosing modern makes over vintage instruments could be delusive in a way since one would simply have to face new issues instead of the well-known ones then...
  15. I believe there are a handful of modern makers building instruments as good as or better than the best vintage instruments. I presume by materials availability you mean things like ivory and rosewood; there are other readily available materials that look different but function just as well.
  16. Wolf Molkentin

    my first Anglo recording :)

    😉 Thank you so much Mike, the encouragement from your side means a lot to me here - I take it from you that I‘m on my way...
  17. Possibly so, but this might lead us back to the topic - better/longer-lasting reliability of a newly-made instrument? sound quality? specific issues of „top-modern“ makes, depending on availability of materials? I’m aware of concerns and musing of some fellow concertinists... So what would you say, Alex?
  18. Mikefule

    my first Anglo recording :)

    Lovely playing. Those are two of the simpler Morris tunes and are often overlooked, but you extract every last nuance out of them. Good work, and all that delicacy of touch on a humble 20b too — we are not worthy, oh great one!
  19. Thanks Wolf! Indeed, I'd be willing to quote to build an English. One problem (or so I am told) is that there is no shortage of good vintage 48 button treble Englishes at prices lower than I would have to charge to build a new one. I did get an inquiry about a bass English, but I don't think that one is going to happen.
  20. Steve Dickinson still makes English concertinas under the Wheatstone name. See http://www.wheatstone.co.uk/wheatstone/ I imagine his waiting times are long too. Steve
  21. @alex_holden might be willing to make one (and he is a craftsman extraordinaire), don't know how long his waiting list would be...
  22. felix castro

    Questions for bandoneon

    As I am also interested in the 144 bandoneon, and I have contacted with Mr. Omar Caccia, the writer of the 144 bandoneon blogspot, I can tell some things. As Mr. Omar Caccia tells the 144 bandoneon was invented in 1924. Since then and as the bandonions intended to copy the sound of the accordion, they developed bandonions with two, three, even four sets of reeds, usually in the right hand. There are 144 bandonions i.e. with two sets of reeds in octave (low and medium, LM) in the left hand and in the right hand with two sets of reeds but not L M, they are with Medium Medium reeds (MM), with tremolo, giving a more accordion sound. As Mr. Omar tells 144 bandonions with L M in left and right are rare, and with zinc plates, even rarer. If the bandonion is with three sets and it is with LMM, it can work "setting off" one of the M reeds set. But if it is only with two sets, M M, it isn't possible to do. I have one 144 bandoneon gebruder meinel with LM in the left (I think) and MM in the right. I bought recently a alfred arnold with three sets of reeds, LMM, and I shall set off one of the M sets searching a more typical bandonion sound. Also the zinc plates have different sound than the aluminium plates.
  23. In another post you say that you have decided to stick with the EC. AFAICT there is only one modern maker of ECs - Wim Wakker. They are not cheap and the waiting list is long. http://www.wakker-concertinas.com/english pricelist.htm Steve, a member here, has a Parnassus.
  24. Many thanks for the varied replies. After considerable thought for the time being I will stay with the EC.
  25. Don Taylor

    Repair/Check up/tuning new Stagi A18

    A Stagi button staying down is usually caused by an internal action rubber sleeve having deteriorated with age. It is a common problem with most Stagi type actions (which includes a lot of Chinese boxes) that has been discussd here before. The easy fix involves replacing the rubber sleeve with something else, a bit of tubing or even a bit of a plastic straw has been used. The hardest part is getting all of the buttons to go back through their holes when you try to put the end back on. I know that your concertina is new from Brunner and that these sleeves should be good for a few years, but I wonder how new your concertina really is. Maybe it has been on a warehouse shelf for a few years. Anyway, if you are at all mechanically inclined then you could look back in these forums and decide if this is something you can attempt to fix yourself. (I will try to add some links later today). Good luck, Don.
  26. Personally I have no idea. But I would imagine modern makers have the advantage of examining the older models and are in a position to make improvements. What is the view of those who have used both?
  27. Toonladder

    Repair/Check up/tuning new Stagi A18

    Thank you for your help. I will certainly keep him in mind in case there is not someone closer to Ghent.
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