David Colpitts

Thanks, David. I knew you'd know! And, sounds good, to me. If I hadn't started Anglo and "graduated" to Hayden, I'd have tried this, I bet.

I am curious about this thread, but can't seem to find where it began. Can someone kindly point me there? Thanks!

How we wish Concertine Italia had accurate drawings/jigs/fixtures from the first run of Bastari Haydens. Most all the issues people find with the new Stagis were not issues in that run. There were, what, 30 or 40 of them? One might turn up, with a search?

As usual, Jim: Great tune! David C.

Regarding iPad tactile feedback: My quest for such was (at least almost) satisfied with sheets of self-adhering overlay plastic with regular grid pattern of raised dots. Not the same as the actually responsive interfaces (real keys/buttons) but cheap and simple, with quite a boost in "haptism." It is marketed for kids, people with learning differences, and any like me who want some sort of feedback for positioning on the slippery glass. I think the name is "TacSheets" and I will try to remember to pack my extra sheet for you to try, David B., at the Squeeze-In. I use it on my very old 30-pin iPad, which while it will run most of the apps I use to mess with music, won't take the external controllers, like Striso, QuNexus, XKey which are providing so much alternative fun. And, Simon, while I agree completely with worthiness of "real" instruments, I must say that electronica and acoustica now represent parallel pathways for me, and I can say without reservation that I want both!

Yes, Don, to this guy's penchant for cheap and functional stuff. Reminds me of Dennis Havlena and Linsey Pollack. And, the general notion of wind control appeals to me, though more to my brother, the childhood sax player and current recorder/Casio horn player. I still hope to sing along with whatever my fingers are playing, but that's another story.... And I am not sure what-all the Striso can do, but it sure sounds good through some very inexpensive apps, or even by itself. And the cost is little more than my CC Elise Hayden Duet, by way of comparison to "real" instruments.

I agree that Didie's postings are in the "elegant simplicity" category, and without taking exception to David's quoted person from the past, I'd say he is controlling the instrument. In this instance, the choice is to not push harder or sideways, so as to get the simplest, most traditional sound. But, IMHO, very much his control. And, of course, the Haydenism of the Striso is a huge factor for me; it would be worth the asking price, I think, even with one fewer "dimension" of expressivity. But the MIDI part is very important, since it lets me "be" a cello, or a guitar, or an oboe.....I know many will cringe at the thought, but the sounds are so good, in such small packages, as to astound old folkies like me. Practice quietly, for sure, but also be Walter Mitty in his own orchestra!

Sure, Don, though the Striso I am falling for is a generous loan from a friend. But to answer your question, it sounds to my modestly trained ear that all buttons sound without delay. And, doesn't he list "15 note polyphony" or am I confusing that with something else.? For my purposes, in what passes for normal play, absolutely no issues with delays in sounding. Matter of fact, a nice change from slower-to-respond bass notes on my acoustinc machines.

Thanks, Don, for the excerpts and explanations. I learn here, each and every day. And, FYI, the older "Striso Box" model has fewer buttons on the left, and there may be a couple of not-quite-done examples in Piers' shop (for so I he wrote me) but they represented a bit of a dead-end in the evolution of the project, at least not compatible with new software, as I understand it. But, perhaps a winner for some here? My latest thought is to make a hybrid sort of frame-up, with the Striso as the right hand and my bought-and-paid-for QuNexus Red as the left. I can set it for two octaves below, and use it as a bass side, or some such. Not Hayden layout, but simple enough for some basic leftism. But the Striso has whetted my appetite. For that matter, you clever types can probably re-configure some "extra" Striso buttons to just play other instruments and effects and??? Maybe Didie has already done such? Anyway, thank you for all your information. And, if one considers the interest for silent practice as well as performance electronica, the market may be a bit bigger than some speculate? Or maybe not.

Very impressive work on all these (past and present) and I'll just put my penny's worth here: I have used the Striso (singular) for a couple of weeks, and the extra dimensions of control offered by the silicone buttons make a huge difference to me in terms of creative potential/sound variety/bent notes/and all. I don't yet see any prices or shipping dates for the actual Striso Duet we've seen and heard Didie play so well, but I can imagine simple hobby-shopping an hour or two to make the triangular frame, and with a pair of Striso Boards at uder $1K USD, that power is a bargain, IMHO. My little old iPad could probably play both simultaneously (since it plays the Striso and another MPE controller now) and the whole package, from scratch/brand new, with a smallish PA system, would be about $1600 USD. Not cheap, perhaps, but compared to any other Hayden Duets of such broad range (122 buttons, with adjustable overlap and all) well, there aren't any, are there? So, in my electronic ignorance, can anyone like Howard or others "spec" a button that allows for the kind of wobbly, "wah-wah" and other switching options that the Striso offers? That would let me save up for the Striso Duet!

I also suggest the Morse. The people are the best, and they are the key. But, if this particular instrument has been hacked by amteurs, as Jim suggested there may be some damage. Button Box folks will steer you straight.

Re-veneering might be your elegant solution, but if you want to repair (as I think you asked?) the pearloid is probably cellulose nitrate or cellulose acetate, early plastics. Acetone is probably a solvent, and can be used to dissolve chunks of new stuff to patch the old, as I recall. But beware of fumes, flames, and potential skin reaction. Personally, I am less affected by those chems than by epoxy, urethane, or satinwood. I get a horrible pustulent rash from sanding satinwood, or lacewood, or zebra.

More experienced and knowledgeable folks have more to add, for sure, but my simple take (as an Elise owner who also added a 46 button Hayden to the fleet) is that Don's suggestion about the left hand is the only way to get the 3-octave range. Personally, I can easily get lost on those odd notes, since the octave overlap means it's usually not the bottom row I need to find with my left. But they are there (save for the key of A?) and the Elise remains, IMHO, an excellent "mini-chromatic-accordion" for a great price. I play the 46 button more now, and the right hand has a larger compass that minimizes the need to switch sides. Do I remember you from the NESI Squeeze-In?

Yes, indeed....great playing, Jim, and thanks, David for the link to Jim's YouTube channel. It's good to have inspirational role models such as the two of you!

Yes, indeed. Jim has since divested himself of a full pair of Bastari Haydens; one playable to some lucky pilgrim, and one for parts/repair, to me. As I figure it, David, you and I between us have about 10% of the world's complement of that first-edition Bastari Hayden! In fact, I was imagining having to take parts from the "parts machine" until I realized nothing was really broken or missing on my playable one. And, Jim or David, any extant copy of that Georgy Girl recording?