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paulbrennan

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About paulbrennan

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  • Gender
    Male
  • Interests
    Bandoneons! Unisonoric, bisonoric, old, new.
  • Location
    Victoria, Canada

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  1. paulbrennan

    Questions for bandoneon

    "my bandoneon sounds a lot different compared to others " - my first thought is that if it's a 144 it's maybe got three sets of reeds and a wet tuning. The classic 142 bandoneon has two sets of reeds in exact octaves - yours maybe has three, one of which is offset slightly - this will give a characteristic untangoish sound, more like a polka or French sound. There is apparently a solution - described here, see the part about the "thin paper sheet": http://bandoneon144.blogspot.com/p/blog-page.html If you already know about this then it's a question of practicing as mentioned. It's a tough keyboard to learn. There are some great instructional materials out there for bando now, and even Skype teachers.
  2. paulbrennan

    Restoring A Crosio Bandoneon

    Thanks folks! Yeah, I'm basically ok with the layout as I'm now playing a Geuns instrument with CBA layout. Most of it's the same (though it's ergonomically different I guess).
  3. Hey folks, I was intrigued by this item on eBay (but didn't bid in the end). I think it's a Peguri layout or similar. http://www.ebay.com/itm/Beautiful-Post-war-152-MONOSONORIC-Bandoneon-by-Fratelli-Crosio-/161890310266?hash=item25b16a187a:g:7q8AAOSwkZhWS42h At this price, I was thinking of it as an interesting project that would keep me busy and MAYBE would be playable one day. Note that I do not have any concertina building background! So it needs to be tuned, which I cannot do (I think). I have heard that bandoneon tuners are difficult to find, accordion technicians cannot do this work, true? I live in Western Canada, so it's mostly accordions out here with wax reed blocks, etc. There may be some concertina tuners, probably elsewhere in Canada. What skill set would I be looking for in a tuner? I notice that the reed plates are aluminum which is not optimal - maybe I get a zinc set made to match (from Harmonika I believe) but not sure if there are design issues in changing that material. It's only the plate, not the reed itself, correct? And they would still need to be fine tuned I presume. Then there are other issues such as broken buttons (I've done that before) and bellows work. Maybe other issues? Grateful to hear any opinions on the sanity of the project, Thanks, Paul
  4. paulbrennan

    Long Reed Plates Worth It?

    Thanks for this - very helpful. I don't really play tango actually, but nevertheless the classic sound of the tango recordings is the one that we all love and aspire to! But what about the maintenance issue - is it really practical to keep an instrument with long reed plates. From what I understand, it may be necessary to ship the plates away for maintenance, even for tuning. This seems like kind of a nightmare to me, although obviously a lot of people do it so it's possible.
  5. Hi all, Given the choice between a traditional long reed plate instrument and a waxed accordion reed instrument, the conventional wisdom is to go for the long reed plates because they sound better or at least more traditional. However there is a big price difference, plus maintenance issues. I'm beginning to wonder if the actual audible difference is all that large. Here are sound samples of two similar Harry Geuns hybrid bandoneons with the two different reed systems. Unfortunately the recordings are totally different so comparison is difficult. But in any case, I'm not really hearing that one sounds like an accordion and the other does not: http://bandoneon-maker.com/c-system-bandonion-basic-model/ http://bandoneon-maker.com/professional-model-c-b-and-russian-b-system-bandonion/ So what is the main expected benefit of long reed plates: More sympathetic resonance along the plate, like a harmonica, giving added volume and brightness? Dynamic range affected by the density of the plate and reeds? I'm wondering if this is the kind of difference that would be eliminated when using a mic and a PA. It's difficult for me to compare these instruments so appreciate the feedback. Thanks, paul
  6. paulbrennan

    Hybrid Bandoneon Review Anyone?

    Brandon, I don't think I'll be much help as I've never gotten far with the traditional bandoneon. I gather it's to do with having a free wrist and being able to use the thumb. You do have to move the wrist up and down, like on a piano (which I do play a bit). Some of the high notes are quite awkward to reach.
  7. paulbrennan

    Hybrid Bandoneon Review Anyone?

    Just a comment - Harry's price for upgrading the student model with zinc reed plates is 2K Euro, but you can get a new one from him with apparently the same plates for 2600.... I suppose it must be a real pain to do that upgrade. http://bandoneon-maker.com/c-system-bandonion-basic-model/medium-hybrid/
  8. paulbrennan

    Hybrid Bandoneon Review Anyone?

    Yes I have one of these - the double reeded student model. Had it for a few years, I have to say I love it. But I don't have a lot to compare it with - a poor quality Irish B/C box and (previously) a traditional bandoneon, also not of the highest quality. I play mostly gypsy jazz (not tango) so the CBA unisonoric layout is perfect for me. The size/weight is just right. Yes it has accordion reeds and I think there is a certain lack of density and brightness that I can detect compared with my old bandoneon. On the other hand, I can get local accordion repair people to work on it if necessary. If I had a lot of spare cash I might look at an upgrade from Harry but I would really be a bit worried about it going out of tune where I live (Alberta Canada) and how to get it tuned? So I'm not sure there is a better alternative out there for the money. But I'm open to suggestions...
  9. Of course, the chamber sizes must be somewhat specific to the note so you can't just move them around randomly, that makes sense. Thanks Lukasz.
  10. Hello all, I'm new to the forum (and to concertina repair) and my topic title is meant to be a little bit tongue in cheek. But I do have a serious inquiry - reading through the excellent discussions, it seems that people have replaced reed plates in older concertinas/bandoneons/chemnitzers by ordering a newly made set from Harmonikas in CZ. I'm not sure how easy or cheap it is, but it seems to be possible. Therefore, it should in theory be possible to change the layout of an instrument and also it's wet/dry tuning by changing the plates of an instrument. But could you also change its bisonoric/unisonoric status? Eg, could I take any Chemnitzer (bisonoric, wet, crazy layout) and change it up to my required specs (unisonoric, dry, CBA layout)? I guess the first issue is that if you did this, the resulting instrument would have half the range, but maybe that's okay. All thoughts welcome.... Thanks, Paul
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