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Tradewinds Ted

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About Tradewinds Ted

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    Chatty concertinist

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  • Gender
  • Interests
    Folk Music, incl. Banjo, Whistle, Dulcimer, Singing, and Dance
    Anglo Concertina
  • Location
    Now in Wisconsin! formerly in Lancashire.

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  1. How about keeping a box of baking soda (bicarbonate of soda) in with it for a while, to absorb the odor? I don't know how much it would do, but It would be very inexpensive to try, so worth a punt.
  2. If the price of the Peacock is a barrier, the Concertina Connection also has the mid-level Troubadour model. Construction is not as fancy, and 36 buttons instead of the 42, but at only a just a little over half the price of the Peacock. I expect it would still be a step up from the construction of the Bastari, although I don't know how the number of buttons compares. I did try a friend's Peacock model once a few years ago for a few minutes. I play Anglo, so the layout was unfamiliar of course, but It seemed like a nice instrument. I've not tried the Troubador to compare, but re
  3. One possibility is playing each of the accompanying chord notes only briefly, while continuing notes in the melody line for their full value, so they shine through. That really works, but it takes some practice, (I rarely manage it) and it is a stylistic choice which may or may not fit the musical style you prefer. But I've seen it recommended and demonstrated here by some fine concertina players. Something I personally find works well is to accompany the melody line with a moving line of single notes, rather than full chords. That way the melody line doesn't get drowned out
  4. Tom Lewis used to do some narrowboat tours in England and Wales, but stopped a number of years ago, not exactly sure when. I did find online a description of the 2006 excursion, and I recall that at least once the excursion itinerary was set to allow participation in the Chester folk festival in May. Tom plays English Concertina and sings sea chanteys (not retired from that, just hasn't continued the narrowboat tours.) I knew of him first from his recordings and from hearing/seeing him sing at maritime festivals, years before I took up the concertina myself.
  5. I suggest changing up your practice occasionally. 1) Play through several of the tunes you already know, as a warmup. This also serves as a refresher, so they will be more or less ready when you want them. As for how many tunes: Play through just a few of your standards in any one day, but change them out from time to time so the ones you care for stay fresh. As for how many tunes overall to maintain: You mention 30 tunes you can "kind of" play with ABC notation, and 10 you can play by heart. That is great. I probably have only 10 I can play by heart at any one time, alt
  6. I've not tried the Wren, but it does look intriguing. I did try the Rochelle in a shop a number of years ago. It seemed a good solid instrument for the price, but it is heavier and less responsive than a good vintage instrument. Still a good choice to learn on though, many people have. I suggest you search this site for "Wren" and "Rochelle" and take some time reading what is already written here, there will be quite a bit about the Rochelle, as many people have learned on it. The Wren is more recent, so their will be fewer comments to sift through. I'm assuming you have decide
  7. I'm not seeing this advert. Who is JK / John ?
  8. From your description, you have a C/g Anglo. Therefore you (probably) have a couple of options, if you are willing to cut from another note on the same side as that G under the left index finger in the C row: 1) The B 2nd from the top on the left in the G row 2) If you have a 26 - button or more instrument, then there likely is an A reversal on the push, on the left, 2nd from the top in the "Accidentals" row. Either of those require that the middle finger be available though, which will depend upon what note precedes the G you wish to cut toward. 3) Another
  9. 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 an
  10. 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 co
  11. I don't play melodeon, or even have a G/d concertina, but it seems what you really want is something with fingering that is similar to both a D/G "English" melodeon , and a C#/D "Irish" Melodeon, so why not arrange the rows in a pattern to mimic these? If I understand the note positions of the two melodeons then what seems the closest match would be: The outer row where a concertina normally has accidentals, would be equivalent to the G row on a standard G/d concertina The middle row would be equivalent to the D row on a Baritone GD, so an octave lower than a standard G/d concer
  12. For possible USA sources: Dana Johnson (in Maryland) who kindly replied above Greg Jowaisis (Kentucky) Bob Tedrow (Alabama) the Buttonbox (Sunderland Massachusetts, near Amherst) which likely is closest to you. All of them deal in new and/or used concertinas, and perform concertina repairs. Greg was able to source two original Jones reeds for me several years ago from his stock when I wanted a couple of notes swapped, but the instrument was already in his shop at the time, which allowed him to verify the fit. I appreciate that you likely are capable
  13. Often new players want the straps tight to try to get a feeling of control, but that restricts movement and makes it hard to reach some of the buttons. I did it myself for a while. What seems to work better for me now is to make contact with the instrument in two places with each hand - the side of the thumb and the outer edge of my hand against the hand rest. I set my straps so I can arch my hand slightly, and create a slight tension in the strap against back of my hand. Most of the palm of my hand doesn't actually rest against the wooden rest. This way I can move the ends in
  14. Strongly recommend buying a copy of "The Concertina Maintenance Manual" by David Elliott. Excellent advice with description and photos, and it even seems to focus primarily on the English Concertina, just like what you now own. To answer your question on how to get to the reeds: You remove those 6 screws from one end, one in the middle of each edge, and gently lift off the wooden end. That exposes the action pan, with all the buttons and levers, and pads. This is then gently lifted out to get to the reed pan. Half of the reeds will then be visible, and you can gently pull out
  15. I don't have this CD but I'm told he sings the new version on his 2004 CD "Ranter's Wharf" which also includes the title track. So not quite as recent as I had thought! His website indicates this can be purchased directly by contacting him, and he has at least two CDs since then. http://www.johnconolly.co.uk/merchandise.html
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