Syncopepper

Thanks everyone for your advice, especially Geoff! I have made the plunge and, with trepidation and yearning, I await it's arrival.

Thanks Geoff, I really appreciate your expertise and help. I have been to the Button Box and to Barleycorn and played many EC's. I currently play a New Model extended treble (circa 1880s) with solid rosewood ends. Most of my repertory is UK folk and maritime music. I play more in D than other keys as it fits my vocal range and spend a lot of my time in the lower range on the extended treble. Here is a recent clip of my playing style: https://youtu.be/PH256RgxRoU After playing many Aeolas I have decided that the metal ended ones are too loud and I think a little harsh for my taste. I started on a Trinity 48 key tenor years ago which I still own and have no problems staying within the top range of a tenor. I very seldom use any of the bat-squeak keys at the top of the extended treble. Having the extra eight keys at the bottom would be good but my primary reason for leaving the New Model, which I love, is tendonitis and arthritis that I have developed over the last few years and that is exacerbated when playing at the bottom of the keyboard on the Lachenal due to it's thumb strap positions. I need to get thumb straps relatively lower on the key board and plan to add wrist straps. At this time it is more comfortable to play my old Trinity tenor but, of course, much inferior in many ways to the New Model. The ebony ended Aeola I am looking at on ebay looks like it fits my bill. I am concerned, however, on the build quality of an Aeola made in late 1942.

The tenor wooden ended Aeola (sn: 35364) that I am looking at was manufactured late in 1942 according to the ledgers. Can anyone advise on the quality of workmanship during that period? Can I assume good quality long tongue steel reeds at A440 pitch?

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=324393896838 This Aeola looks like what I have been looking for to replace my New Model extended treble. I have never bought a big ticket item on eBay and am worried about the pitfalls of doing so. The seller lists the early 1940s for manufacture. The seller also states "No Returns". Can anyone with experience give me any advice? Is this a good period for Aeolas? I would think the $3,500 asking price is a good price?

Thanks to everyone for good advice and recommendations. These forums have been a source of a lot of great information over the years. Here are some of my reflections - Very interesting approach to ergonomics. I am used to the standard angle of attack on the EC (having played that way for more than 35 years), it’s the deep reach to the lowest keys on the extended treble layout that is problematic for me now. Geoff’s thoughts seem to fit my situation pretty well. The Trinity 48 key tenor learner that I still have is more comfortable regarding thumb position - first because I am used to the treble range and do not often go to the bottom eight keys, and second, the thumb strap position is a little closer to the lowest keys than on the New Model. Like Geoff my twisted thumb straps have started to tear. My days of playing stand up are pretty much over due to wrist tendon problems I have developed over the past few years so the weight of the instrument is not a big issue. My optimum solution would be to trade up to a restored wooden ended Aeola, preferably a tenor or possibly a baritone, and install wrist straps. Unfortunately these instruments seem to be in short supply and I would like to go to a good dealer where I can also negotiate a trade-in on the New Model. I saw mentioned here lately that Wim Wakker has a thicker reinforced thumb strap available. Wim originally restored my New Model for his daughter and has done the work on it over the years for me. Can anyone review these straps for me? It has occurred to me that a thumb strap designed for mounting on a traditional concertina that had a swivel base that would more easily rotate the thumb downward might be a great idea. Has anyone run into a device like that? Regarding the discussion about procuring or jury rigging wrist/hand straps. Does anyone know of where one could get straps professionally installed or find details about how and where to attach them? If I can come up with a better thumb/wrist/hand strap configuration I might think about holding onto the New Model as I am very happy with it otherwise.

ggx

As this post touches on multiple topics that individually could better go in other forums, I thought is best to put them in the general forum to be considered together. I have been playing a Lachenal New Model 56 key extended-treble for many years. As it is used for accompaniment to my vocal range, I play mostly at the bottom range of this instrument. I have noted that the thumb straps are now wearing out and it appears that the wear is due to twisting to reach the lower buttons. When I traded up in quality years ago I moved from a cheaper tenor instrument which I still own. Losing the lower range was a consideration when I purchased the New Model but the lost lower range has not really been an issue except for the ergonomic problems with thumb strap wear, and recently, arthritis in my left thumb which I think has been caused, or exasperated, by my concertina playing. The thumb problem has reached the point where I must do something to continue playing and I have considered two possible options. The first would be to replace the thumb straps on the New Model with thicker and/or more flexible straps and have wrist straps installed to relieve pulling pressure on the thumbs. The second option would be to trade up to a tenor, baritone, or treble (with an extended downward range) to better position my hand in the lower range (and probably also wrist straps). My intention is to trade up to a comparable or better quality instrument as the current New Model. Fortunately in the past few years I have sat down at both the Button Box and at Barleycorn and played many concertinas allowing me to have some idea of what I am looking for. My big take-a-ways from trying so many instruments is that I do not like the harsh loud sound of metal ended instruments and that some of the more modern ECs, many of which are hybrids, are better than I expected. As this will be my big chance to do a trade up, I’m considering Aeolas, Ediophones, and other ECs of that caliber or one step below, depending on what I can get for trade in value on the New Model. I am also considering the possibility of a more modern EC but would still want to move on from the current New Model so might have to then sell it separately. If anyone has suggestions or thoughts or other options I should be considering please let me know. I could use some advice. Thanks!

I would like to know aproximate date on my 56 key extended treble New Model with solid rosewood ends, SN: 29161. It was restored by Wim Wakker some years ago and featured on his web site for years. I am guessing mid 1880"s? Thanks;

For many years I lived near the Chesapeake Bay area but now live near Lake Michigan. Over the years I have been to Maritime Music Festivals and am a folk club regular. I play several instruments including EC. Early this year I was organizing a Chanty Sing at the Michigan Maritime Museum Campus during the annual South Haven, MI Harbor Fest in June. Of course that didn't happen - maybe next year. Chanty Sings are held monthly in some metropolitan areas. Usually there is a Sing leader who performs the dual role of master of ceremonies and sponsoring representative for the Sing. The Sing leader coordinates with individual song leaders who volunteer to lead the rest of the participants in a song. Sometimes the Sing leader leads some or all of the songs. These songs are often call and response work songs with the leader singing the calls or refrains. Ideally this all happens in a large backroom of a pub. These days some are doing Zoom but with the delay they are just doing round robin.

During the summer I went to several outdoor folk club and open mic social distancing events. As the weather has cooled down and the Covid has heated up, I do not do so now. I am interested in traditional maritime music and some of chanty sings are now via zoom. Of course with Zoom they are more like open mics. While a poor substitute for live, they do tend to draw participants from all over the country and many from the UK. South Street Seaport in NY hosts a monthly one as does the Portsmouth Maritime Music Festival in NH. I continue to monitor other traditional venues looking for more Zoom opportunities including ones in Minneapolis. Seattle and San Francisco. Does anyone know of other Zoom open mic type opportunities?

After many years of playing an EC extended treble New Model I have recently developed arthritis in the second joint of my left thumb in addition to previous tendonitis on the other side of that hand that has curtailed playing stringed instruments. I'm not sure what factors contribute most to the thumb problem (other than age) but suspect it's partially the strain of playing mostly in the bottom of EC's range. This has also caused my right thumb strap to wear out and I am considering having wrist straps installed when I get the thumb straps replaced. The three options I have been considering are: wrist straps; neck strap or wrist splints like those David Coffin wears when playing. I would appreciate any advice as to these possible options. I switched from Anglo to EC a long time ago and would think that the constant bellows reversals on the Anglo would not be an advantage for thumbs over the EC.

Some years ago I went to Philadelphia for the Mummer's Parade and while there, visited the historic Arch Street Quaker Meeting House. I had an interesting conversation with one of the meeting house Clerks who are administrators in leu of clergy. During our conversation I asked him if he was familiar with Sydney Carter? In answer he reached around me, pulled a hymnal out of the pew, and opened it to "Walk in The Light" which Sydney composed using, "a traditional folk tune" as is explained in Quaker literature. When I told him the tune Sydney used was "Moncks March" and the military record of General Monck for which it was named he was both beguiled and appalled.

Instrument genealogy and history can be fascinating. I have an old tenor banjo with an interesting story.

In addition to some social distancing jams I have been working on a song ( w\EC) for submission in a maritime music festival song competition.

David Coffin is a popular performer on the Maritime Music Festival circuit. Check out his rendition of "Roll the Old Chariot Along".

I have heard (probably here) that anglo bellows should be stiffer than english bellows. The reason I recall was that the stiffness made them more bouncy and able to change directions smoothly. The english system on the other hand did best with more flexible bellows for better timing. I wonder if that is true and if so, do the the two systems have different blocking requirements? While I keep my english in a blocked case when left out it does not appear to expand over time.

Leather stomach pumper?

Many thanks for several interesting avenues to pursue. To define my issue more precisely performing with a stage monitor isn’t a problem. My problem occurs in informal groups with no amplification. I have found it helpful to use the space around me to amplify but often can’t control that variable. I do find myself cupping my ears these days. (but not while playing) The earplug approach is one I can attempt. I have a pair of those for loud music environments. I will have to dig around for them and report back. Also the Amplug option seems to be close to what I was envisioning. I have a rosewood New Model but have been able to try several metal-ended Aeolas in one sitting recently. Generally their handling and reed quality were similar to the New Model but the usual differences of volume and brightness sets the new model off. For accompaniment it’s a better match for me. In a senor epiphany moment I just realized I have an accordion reeded instrument that is playable. I wonder if that would cut through the auditory fog?

I have come to that time in life when I have trouble hearing through the background level. This is causing me problems when playing in sessions or jams (or in bars). I cannot hear myself which is fatal for me on my 56 key EC. I hoped that an Android app might allow me to clip my cell phone to my belt as a hearing aid but all those I have tried had significant sound delay. I wonder if there might be any dedicated devices that are alternative options? Perhaps some sort of amplifier (hearing aid) that I could plug earbuds into with a volume control. Clipped to the shirt or the belt it would be near to the reeds whether standing and sitting. As most earbuds don't have a lot of sound isolation perhaps I could hear the other musicians and adjust the volume of my own instrument. I'm afraid that scheme that would have to be attempted to predict how all those variables shake out. Any advice on a more sane solution, or general comment, would be appreciated. ?

I have played the EC for many years and use it strictly for accompaniment. Starting out with an Anglo many many years ago, I then had dinner with Alistair Anderson before a performance at my local folk club. I was smitten and bought a good learner EC. Recently I had an opportunity to play about eight metal-ended Aeolas. My own current New Model has solid rosewood ends and I thought the difference between the brightness and volume was very noticeable. I seems to me that both attributes make the metal-ended Aeola shine in instrumental or vocal grouping but for personal accompaniment I will stick with the more mellow New Model.

I thought the player was holding a lighted cigarette in his hand while playing until I saw the stogie in his mouth! Maybe a joystick?

Great Pictures! I noticed that in both of the Tottington Band pictures most players have their instruments held mid to upper chest level. I would guess that most players today might find that high for comfortable playing. If so was this just posing for cameras? It appears the band is dressed for marching in the second photo. Did they march with their concertinas at this height for band Esprit De Corps? Widening the scope is it very common to find instruments displayed like this in other historic band photos?

My focus is English and nautical folk music. I switched from AC to EC years ago and have been happy. I think the EC is more versatile for this purpose.

I have done a lot of gigs this month doing Victorian-era Christmas music. Otherwise American and English and Nautical Folk music. I built a sound-proof room with a humidifier. My family is grateful!

I am looking forward to a trip to the UK in May/June (unfortunately without my EC or other instruments). Having been a regular at a UK style folk club in Northern Virginia for many years, I have plotted my upcoming travels against folk club listings and plan to stop at a few when events sync with my itinerary. As I'm likely missing many and have not plotted any concertina happenings I thought I would list my itinerary here in hopes others can recommend events I might like to attend, music or otherwise. 5/20-21: Glasgow 5/22-23: Oban 5/24: Inverness 5/25-26: Edinburgh 5/27-28: Keswick (Lake District) 5/29-30: Askrigg (Yorkshire Dales) 5/31- 6\1: York 6/2: Llandudno (North Wales) 6\3-4: Pembrokeshire 6/5: Gloucester 6/6: Chipping Norton (Cotswalds) 6/7-10: Plymouth When driving around Ireland a few years ago I was able to get to many musical events and hope to do the same this year in UK. Thanks for any suggestions you can give me.