Jump to content

lachenal74693

Members
  • Content Count

    672
  • Joined

  • Last visited

About lachenal74693

  • Rank
    Heavyweight Boxer

Profile Information

  • Gender
    Male
  • Interests
    Traditional music & Morris, Sailing, Shogi (Japanese Chess),
    postcard collecting, 'N' gauge model railways.
  • Location
    Urmston, S-W Manchester, U.K.

Recent Profile Visitors

2270 profile views
  1. Is any reader of this forum aware of anything similar which takes place in the North-West of England? Ta.
  2. <pedant on> No, I think it's the players. The name of the society is 'The Recovering Accordion Players Society'. <pedant off> The relevant Wikipedia page advises: ...Treat these poor afflicted people with respect and understanding, for they are in the grip of a serious affliction...
  3. It sounds as if we were pretty much the same age when we started - I was 66... I'd like to endorse what has already been said by many of the responders. They describe more or less the path I have followed, and continue to follow. In particular, I think that it's a very good idea to learn the tunes (even very simple ones) that you want to learn, rather than the tunes which are effectively 'selected for you' in an introductory tutorial. That's why it's also a good idea to acquire a few tune books early on - you can scan through them and concentrate on those tunes which appeal to you. That in itself is an incentive to learn (as has already been stated). I'm 5-and-a-bit years into this exercise now, and it works for me... Pick out a couple of tunes which are relatively easy to learn, but which aren't in the 'usual' repertoire. It's a real morale booster to have folks say, 'Hey that's a good tune, I haven't heard it before - show me...'. I said 'simple' above. Don't be fooled - somewhere, there's a recording of one of the leading lights on this forum playing the 'simple' tune 'Pop Goes the Weasel' - it's really amazing what can be done with a (deceptively) 'simple' tune, and you don't have to be a virtuoso player to spice things up and make it more 'interesting'... I hope this serves to reinforce the encouragement you have had from others
  4. Here's my high-tech solution to the problem. Would drilling more holes in the top add Bluetooth capability?
  5. I finally got my hands on this re-furbished Crabb for a few minutes last night. Today, it will be winging its way to its new home in Berlin, but will be making occasional visits 'back home' - when I hope to be able to get my hands on it again. No pictures, but this is a super instrument. 36-button C/G Anglo, 6-fold bellows, metal ends, metal buttons. Restored by Accordion Magic, a company of whom I had not previously heard. They seem to have done a good job! Most noticeable was the weight - significantly lighter than my Marcus G/D hybrid, and I'm guessing that it was also lighter than my 30-button C/G Wolverton. Played like a dream, there was no 'play' or 'wobble' in the buttons, so I guess the 'engineering' under the bonnet is all made to very high spec' (I don't think the buttons were bushed), The sound was a complete revelation - mellow, but at the same time making its presence felt rather strongly (a poor description, but the best I can do!). I'll try and get pictures and possibly a short sound clip. Wonderful piece of kit!
  6. (1) Clearly I have concertina-itis badly - I often find it very difficult to stop a big (๐Ÿ˜๐Ÿง€๐Ÿ˜ ) grin creeping across my face while playing... (2) Off-topic, but the obergruppenfรผhrer of the <mumble> band is in the habit of calling out instructions such as "play as written", "out next time" , "change", etc. I have heard this practice criticised as being pretty naff (that's the cleaned up version!). Seems pretty reasonable to me when the troops are a mixed bag, many of whom are ear players who don't know much about staff notation? The <mumble> band also use printed music, which from the website appears to be the practice of the Greenshoots band. I have also heard this practice much criticised, but my take on it is that by using a printed score, all those 'ear-ole' players will pick up some of the basics of staff notation, which can't be a bad thing, can it? I'm not a sight-reader, but I do have some ability to (slowly) read and understand a printed score...
  7. (1) Very helpful - thank you! Some of the thoughts you express have been rumbling around in my head too. (2) I can't help wondering if that's the most important thing you mention...๐Ÿ˜Ž Roger
  8. Hm! I am going in the opposite direction - sort of... I play G/D for Morris. One of our dancers is planning to hang up his clogs and join the band - he has a C/G, so in an attempt to help him along, I am supplying him with our Morris scores with tabs for C/G 'tina added (I don't know if he's a reader - I do know he's not played the 'tina for years...). I have encountered one or two potential problems, so I too would be grateful for any wrinkles from C/G or G/D players who have 'migrated' in either direction. First impressions are that (despite the potential problemettes), it's not going to be as difficult as I thought. In fact, somewhat counter-intuitively, a few G/D tunes might fit very well on a C/G instrument? So much so that I might try playing the C/G at real dance-outs, just for ducks... Comments, thoughts, hints, advice, all welcome... Thanks. Roger
  9. lachenal74693

    Una

    Aye, 'twas me. I was curious and finally tracked down what I suspect is the site to which the OP was referring. It contains the following remarkable (to me) statement: "...Along with the wheatstone you should know that Latchenal made over 150,000 concertinas and stopped back in 1920โ€™s which means they are all over 100 years old and mostly Rubbish. Old is not good when buying an instrument..." These sweeping generalisations seem a tad more extreme than was hinted at by the OP? It seems to be a one-shot website consisting of one page only, with no indication that the author is a player, a dealer, or w.h.y. Bit flaky IMO...
  10. lachenal74693

    Una

    I wasn't able to connect to that site, but that looks exactly like the sort of special pleading, of which I am very, very suspicious. What is the provenance of the site? Who is behind it - perhaps a dealer in modern, cheap(ish) hybrid instruments aimed at the ITM market? Maybe I'm overly cynical, but I think the world is full of bad people whose main aim in life is to slip their grubby hands into my pockets, exiting with a fistful of my money. I do not approve of this...๐Ÿ˜Ž IMO, it's verging on sharp practice to generalise and say that buying 'old' is bad for the largely bogus reason that 'old does not equate to good'. If this is true, it is true only part of the time... Remember, it's also true that 'new does not equate to good' - possibly truer than the claimed converse, certainly as far as the cheaper hybrid instruments are concerned. However, the top level hybrids you mention are grand. In view of what SS said in his earlier post (is the Connor a hybrid?), I'm going to muddy the waters even further and add that I have a 30-button Marcus G/D de-luxe myself - bought 2nd-hand from a member of this parish. It's great - I use it all the time for t'Morris. Impressively loud too - blow yer socks off two fields away. If t'were me though, I'd be tempted to try the Crabb, though of course, it's in Ireland. You might find an equally acceptable instrument nearer home... Roger [Aside: It's refreshing to see a discussion about this 'end' of the market. In another concertina forum to which I subscribe, there are constantly discussions about whether to spend $400 on a Chinese 30-button hybrid, or spend $100 more to get a decent 20-button vintage instrument. I'd like to be here in 50 years time (I won't be!) to see how many of the cheaper modern hybrid-style instruments are still squeezable, compared to the current inventory of 'bad' old concertinas. A concertina which is (say) 100 years old at the moment will then be 150 years old - and with a little bit of luck, and a following wind, still squeezable...]
  11. lachenal74693

    Una

    Me neither! Sorry to hear your unfortunate experience. It's a little trite to say 'there's an exception to every rule', but I suppose it's a cliche because it's true(-ish). Perhaps I've just been lucky...
  12. lachenal74693

    Una

    Yes, a 30-button is a good idea. The idea that Lachenals are student instruments seems to me to be a fairly extreme position? These days, my first reaction to such a statement would be to examine the bona-fides of the 'stater' quite carefully (I do have a nasty, suspicious mind...๐Ÿ˜Ž). Five years in to this concertina nonsense, I have acquired several Lachenals - all Anglos, I have a mix of keys and configuration C/G, G/D. Bb/F, 20- 26- 30- buttons. Three at least are very, very good instruments. Only one could be regarded as a 'beater' (and it was specifically bought with that prior knowledge). The rest are perfectly acceptable instruments suitable for use by 'improver' standard players (which these days, is what I consider myself to be). If you buy an instrument from any of these reputable dealers, you won't go far wrong - I have used three of the above, and would recommend any of them (though the 'best' of my instruments was bought privately from a member of this parish...). If the OP is considering spending as much as ยฃ2k on an instrument, it is worth considering spending a day travelling to and from a 'distant' dealer to work 'face to face' and to try out a variety of decent 'tinas. I've done this at least three times, and had three nice days out on the choo-choo (๐Ÿš‚๐Ÿšƒ๐Ÿšƒ๐Ÿšƒ), plus adding three decent instruments to my collection.
  13. Beautiful instruments - with or without LV buttons! I'm not up for making my own buttons - I have neither the necessary equipment, or the necessary skills. It was just an idle thought prompted by a passing reference in a radio programme. I did wonder about the possibility of re-cycling ebony from the edge of abandoned ebony-edged tee-squares - as used in drawing offices (do draughtsmen still use tee-squares?)... Roger
  14. Alex, thank you. I think the mention I found of the use of lignum vitae was for a Dipper. I never thought of boxwood - a couple of my sets of Shogi (Japanese chess) pieces are boxwood, and they are pretty hard. Seems like the use of these moderately exotic woods for buttons is not very common... Roger
×
×
  • Create New...