RWL
-
Posts
239 -
Joined
-
Last visited
Posts posted by RWL
-
-
I can find metal case corner protectors / trunk corners at several vendors, e.g. Reliable Hardware, Rockler, etc. but I haven't been able to find any rubber or plastic ones. I'd like to find rubber or plastic corner protectors since I think they'd be kinder than metal when set on a table, and also less prone to skid if the case were bumped. I'm in the US, but the ones I see on the cases at Hobgoblin in the UK are what I'd like to find. Photo of a Hobgoblin case below. Does anyone know a source for plastic or rubber case corner protectors?
-
What is 'ICT' equipment? I'm not familiar with that term. The glue is drying on the box as I write.
-
There have been a variety of answers at this point. I've chosen suede because I could get it locally, but keep your 'votes' coming. It has been interesting to see the different choices. I might have considered the corduroy, but I had already bought the suede before that message came through. The glue on the box parts is drying as I write. I chose a 600 Denier black nylon cloth for the exterior. I'll see how that works out.
-
A somewhat related question. How tightly do you compress the bellows between the blocks? The instrument normally measures 6" when resting. I can compress it another quarter inch fairly easily and a full 1/2 inch if I press more.
-
Thanks CrP. I had spotted some "suede" in the fabric shop and wondered how it would work. The color choice locally was a bit limited IIRC. When you say "ultrasuede" is that what all the fabric suedes (as opposed to genuine animal hide) are called, or is it a specific type of suede cloth that I should be looking for?
-
I assume that everyone who makes padded cases puts it on the bottom, and probably in the lid. I have some 3/8" firm closed cell foam that seemingly would be ideal for that.
Do you also put padding on the ends of the case or on the sides?
Do you put padding on the edge of the blocks used to hold the concertina closed?
What do you use for padding and what thickness do you use?
-
I've read some of the posts that I could find here on the topic, but I don't see consensus on what to use. I looked at a fairly heavy felt, but it seemed like it might be slightly abrasive, and when I dragged a thumbnail over it repeatedly, I could gather some fuzz as though it were wearing out. The fabric shop has fleece (is this the same as "plush"). The instrument would slide nicely in and out of the case with that. One side has a short nap and the other has a longer nap. The shorter nap would look better as the lining, but it would be difficult to get either side to adhere to the box walls without moving because of the nap. Auto headliner has a thin 1/8" foam backing that would be nice, but it would surely break down over time. Denim would wear well, but doesn't look very classy. What has worked well for you as a lining and what does your local fabric shop call it?
-
I would have saved about $45 with Transferwise. It is less expensive.
-
Yes, it's coming from Australia. I should have it by early next week. Since my current Lachenal has never been professionally restored, it will be interesting to experience the contrast in playability with one that's been properly set up. I'll hang onto the old one at least for awhile. It's possible the Edeophone may be too loud for routine home playing. I wanted a louder instrument for jam playing, and had been considering a Wheatstone 21 that Greg Jowaisas had just completed restoring, but the Edeophone had the appeal of being a tenor-treble and being able to play my viola music, and the tenor line of hymns. That plus new 7 fold bellows on the Edeophone was enough to push me into stretching for the higher end instrument. I am otherwise pretty frugal. It has brass reed shoes rather than the aluminum ones that some Edeophones have. I hope to create a bass clef and viola/alto clef button chart similar to the one in the front of the Butler book. If I can make it look good, I'll post it here.
-
I have some photos the seller provided. Notice that it has bowing valves. My impression from searching the forums is that people usually just use them for an air valve. I thought about posting a message about bowing valves to see if anyone actually uses them when playing.
-
Metal ends. Seven fold bellows.
-
I recognize you as a restorer, so I accept the voice of experience with regard to the use of nail polish. Neverthess, I was curious; were the buttons painted red and black originally, or were they stained with a dye and then sealed with a wax?
I was wondering also if a 10% household bleach solution would be OK on the white buttons, or whether that would damage the bone.
-
Thank you. That was a real help. Your work to compose the summary of the different English layouts in the download link you gave was a real labor of love. I could not find that using the search terms I used, but hopefully now others will find it more easily. Thanks again for pointing me to that discussion and thanks for taking the time to compose such a nice document.
-
I'm awaiting the arrival of the 56 button Lachenal Edeophone tenor-treble I just bought. In looking around, I haven't spotted a button chart for a tenor-treble. I spotted an extended treble layout in a Wheatstone publication, but not for a tenor treble. Does anyone know where there's a chart for a 56 button tenor treble? Ideally it would show the low notes in the bass clef. I'm looking forward to being able to play my viola music with the concertina, although I'll have to make up my own button chart for the alto clef.
-
I discovered that if send your payment in the currency of the seller, the buyer pays the currency exchange, which seems to be 2.5% Maybe this is old news to those who have been buying and selling, but factor it into your offer. This one caught me by surprise.
-
Is there a way to restore the red and black color of bone buttons?
Is there any safe way to whiten the white bone buttons?
-
What can I expect with regard to an item being shipped to the US from out of the country? Will I be charged customs? If so, how much and how is it paid? Are there any special arrangements that must be made by the seller or by the recipient? Anything else I need to know? Any bad experiences with receiving an international package and was there any way to avoid it?
-
Also - get a second opinion from someone else at the session.
The person least able to hear a concertina is the person playing it - all the sound goes out sideways (is the person beside you wincing :-) ?)
I have a favourite session spot which is the corner seat - it's the only place in which I can hear what I'm playing if the session is a noisy one.
Chris
And note a previous discussion, started by Jody Kruskal, about how an apparently soft concertina to the player can be heard a considerable distance away.
It took awhile to find the post by Jody Kruskal, but here it is:
Concertina Sounds Travel Further Than String Instruments... Why? http://www.concertina.net/forums/index.php?showtopic=16373&hl=%2Bjody+%2Bkruskal%2C&do=findComment&comment=154986
I will have to take it to the old time session again and see if others can hear me. Similar to Jody Kruskal's experience, in recordings I have of an open contradance band in which I play fiddle once a year, the leader, who plays a metal ended Wheatstone stands out above the fiddle section. The group leader (Rachel Hall of the Philadelphia area for those who know her) has inspired several of us to play the English concertina. Those who have followed in her stead - at least those of us who attend Juniata Folk College - have eventually purchased metal ended instruments.
-
You may have to type the link in manually. Concertina.net is not recognizing the html at the end of the line and you may have to add that manually.
Or... You may have to go to the Portland craigslist site and search through the musical instruments for it. It is listed as Vintage Unused Wheatstone Anglo Concertina Accordion.
-
I spotted this by happenstance and know nothing of the seller. It looks pretty in the pictures.
http://Portland.craigslist.org/mlt/msg/4502737527.html
-
It's been a year since I replaced the valves so I don't know which ones I replaced. The instrument had been stored in its upright position by its previous owner(s) so a lot of the valves were bent from gravity. I didn't know to replace them as pairs at the time; did I miss that suggestion in your book? I only replaced the ones that were gravity bent along with a few others that had become slightly longitudinally cupped over time. The notes I've been playing are not difficult to make sound, but I haven't recently tried each button in both directions to see if there are some notes that don't work as well. I did have one that didn't sound in one direction recently, but with playing it must have blown out a speck of dirt because I haven't had the problem since that one episode.
-
I had originally thought this was a Tutor model based on something I had read over a year ago. I was doing it from memory. Until the other discussion about identifying my instrument for sure, I didn't realize that it was the step above the lowest end model.
-
I'm no longer sure it's a Tutor model. I posted a query elsewhere in the forums to identify it and other say it's a step up from the tutor because it has rosewood ends and five fold bellows. It would be nice if there were someone near me in central PA where I could listen to several different models, but that's a pipe dream. The players in the Washington DC area would like to try a squeeze in this summer, but no date has been forthcoming yet. I may register for THE squeeze in in Mass in Sept. and I can see a few more there. The only two EC players I know are a few hours away from me, and both have metal ended instruments. The point about asking others at a session whether they could hear me is a good one. Nevertheless, I had difficulty hearing myself there although I could hear some of the notes. (It's not as though some notes don't sound though - I hear them all fine at home.)
I'm going to wander a little off topic, but I notice that some of the refurbished instruments have 6 or even 7 fold bellows. That likely wouldn't contribute to more sound, but how much advantage is there to having an extra fold or two. All things being equal, would you choose 5, 6 or 7 fold bellows?
-
The ability to quote is not working, so it's difficult for me to show which response I'm replying to. It was the comment regarding refurbishing. About a year or more ago I acquired David's book and subsequently replaced many curled and / or dried up valves. I also re-glued a few loose corner blocks which had allowed air leaks between chambers, and put a few patches on several of the bellows points where I could feel air leaks. I checked and it's not in current concert pitch - all are about 15 cents sharp. Now that I'm finally able to play some tunes, I'm considering going to the Squeeze In in Massachusetts in September. The players in the Washington DC area are trying to schedule a summer squeeze in at someone's home, but so far no good date has appeared.
It's peripheral to my original question, but if I replaced the pads and bushings (which I assume are original because I haven't opened that part to look at them), what effect would that have on the instrument?
Where To Get Case Corner Protectors
in General Concertina Discussion
Posted
Thanks for all of the suggestions so far. You all have the general idea of what I'm searching for but all of the ones for speaker cabinets are too large for a concertina case. I haven't exhausted all avenues that some of you have suggested since one of the vendors might have smaller ones but I haven't spotted any yet. I'm looking for something about 1.25" / 35 mm on a side. I glued the lining in the bottom half of the case this evening. I've got to line the top yet and get some hinges and latches and a handle. Completion is getting closer. I've shot pictures throughout the process, mostly for me if I ever need to make another one, but I may upload them to the forum for others who are considering building a custom case.