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  1. Salut, Geoff,


    I don't have a Wheatstone or Lach Bari.  Just checking in to note that if you can find one in pristine condition, the Morse Geordie 45 Bari models are really wonderful.  I thank the stars I had the sense to acquire one before Morse ceased operations.   Very lightweight compared to the vintage examples, and very quick--at least, this is the case with mine, which I ordered with an extra bellows fold and the upgraded TAM reeds.  


    In other news, I acquired not one but two metal-ended TT Edeos last year.  It was a huge stretch financially, but I love them and am grateful to have them.  One was from Paul Read in Canada, the other from Steve Turner in the UK.  The Turner example arrived with some air leakage that has recently worsened drastically to the point of unplayability, and will have to go to one of the few expert techs here in the U.S. for diagnosis and repairs.  But I like the instrument and its tone very much, and will not mind ponying up for necessary fixes.


    Trusting and hoping you and yours are blooming,



    US Left Coast

    1. Geoff Wooff

      Geoff Wooff

      Bonjour C,

      I  remember  discussing  the  Morse  Bari  with you,  I  tried one  and  found  the  wind chest  too  limiting  once  chords  came  into  the  equation.... hence  the  extra  fold indeed.


      I suspect  yout  air leakage  on  the  Turner  edeo  could  be  due  to  the  climatic  shift,  wood  settling.


      I'm  still recovering  from  a Carpal Tunnel  operation,  coming  up  two  years  now  and  still  lack  sense of  touch  in two  fingers...  but  concertinas  get  played  every day. Stradella  basses  are  still  lit  and  miss  with  those   dumb  fingers....  but  just  maybe  I'll  ditch  the  Baritone  idea  and  buy  a  Scandalli  air 2C!!

      Best regards,


  2. Thank you kindly, Defra.    I said nothing rude or insulting to anyone, and I also expressed my ability and willingness to ignore all this Zuckerbergian nonsense if that is what people here want.  The fact that expressing my own distaste for it in a waggish manner has so many panties in a twist is shocking . . . yet not surprising, unfortunately.   Part of the new social-media groupthink is that one is rude and a troll if they  don't jump enthusiastically on the cattle car of the day. 





    1. Defra


      Yes, but I do find it shocking that people on this site, of all places, are jumping on the band wagon too. That shows there really is no hope. Oh well, back into the shadows for me but at least your reaction shows that at least someone else shares my views.

      Keep up the resistance.


      All the best,


    2. Don Taylor

      Don Taylor



      I agree with you and with Defra's response.  I tried to post a reply in support but I see that Paul decided to have the last word and then lock the topic from further discussion.  He should have remained neutral before doing so.

      Ah well, I fear that this Zuckerbergian nonsense will destroy the group.  Maybe it is time to take up the Melodian...

      Best wishes,



    3. Defra


      Cheers Don, but please, anything but the melodeon...

  3. [[[Was looking at how you managed to swipe my signature]]] It was the old, Copy + Paste caper.
  4. Whoa, thank you, roving eye. These are so nice. That carpet-bag full of concertinas that Cormac lugs around is the GREATEST. This shade of robin's-egg blue on the walls is perhaps my favorite color, and excellent way to take a convent to its next existential phase. Can't get over that fresco of a cherub with a CONCERTINA!
  5. If it's the Beaumont, I advise going for the option of tipo a mano (AKA "TAM" or "hand-type" or "hand-finished") reeds. It's not that much more expensive, and the response is a tad quicker and suppler. Not saying the "super Durall" factory reeds they use as standard are horribly resistant, just saying, the TAM response is a little faster and more supple. The TAM reeds do sound a bit brighter, which some don't care for in the high notes, but I like the response as well as the clarity the added brightness gives you in the mid-range and low notes. I've got the TAM reeds in two Morse Geordies (a Tenor and a Bari) and wouldn't go any other way. Wakker's promo material used to say "hand-finished" in the Peacock, but I see when Morse has Peacocks in they describe the reeds as "Italian reeds." So I would email Wakker and ask if TAM is standard in the Peacock.
  6. RE the OP's question. The bandoneon has all notes. Obviously the chromatic bandoneon has all notes in both directions, because it is unisonoric. With the main two types of bisonorics, nearly all notes occur on both the push and pull, though this differs. According to maker and player Klaus Gutjahr, the German layout gives you this, while the Argentine layout has a couple of notes on the left side that don't recur in both directions. Some makers now offer Argentine-layout bandos with some extra notes over the traditional 142, to close that gap. But that is a different question from, will a bandoneon play like an accordion: No. It has as many notes and chordal possibilities on both sides, and you can arrange any type or piece of music you like on it, and it is a really cool instrument, but it will not aspirate, phrase, or move like an accordion because it is not an accordion. It has its own parameters and its own ways, and it's worth jumping into it, but it does not play like an accordion. Be aware as well, that Argentine tangueros largely (not wholly, but largely) play tango on bandoneon ON THE PULL, but NOT on the push. They pull out playing a line or phrase. Then they push back in using the air button, and do so at beats and moments that complement and accentuate the lift and movement of tango. Then they come back out again while playing the next phrase, repeat, repeat, repeat. You can see this on Youtube, often 6 or 7 bando players sitting in the front row of a big tango orchestra in their tuxedos, doing this in unison with their bandos. One CAN play the bandoneon in both directions continuously; the notes are all there to enable this, if you do the work necessary to acquire that level of technique. And some advocate that this is the highest and most accomplished mastery of bandoneon (this school of thought would be, more or less the Germans). However, the tangueros maintain it is the alternation of playing on the pull and whomping back in on the push with the air button, that achieves that tango nyah. A master-level Argentine bando player with conservatory technique will KNOW HOW to play in both directions. But in practice playing tango, they're gonna do it largely on the pull. Due to this, the sound difference between playing tango dance music on a bisonoric bandoneon, versus playing it on a unisonoric ("chromatic") bando, is not as dramatic as some might think. The Argentines might not like to hear this, but playing-mostly-on the-pull thing effectively makes your bisonoric bando into a de facto unisonoric. And players of unisonoric ("chromatic") bando who know tango music and know what the hell they're doing, can get this same sense of tango swing or lift by playing their unisonoric . . . . only, or largely, on the pull. And whomping back in using the air button, all in the rhythm and in the phrases appropriate to the movement of tango music. Just like the players of bisonoric, who by doing this are converting their bisonorics into . . . de facto unisonorics.
  7. Chromatic bandoneon is a bandoneon. Bisonoric bandoneon with Argentine layout is a bandoneon. Bisonoric bandoneon with German layout is a bandoneon. They are all bandoneons. It is the reeds, the size and shape, etc. No one in the real world of music understands them as anything but bandoneons. They are built, played, and sold as bandoneons, because that is what they are. The added descriptives will tell you what type. Chemnitzer, while viewable as a bandoneon, gets the chemnitzer appellation due to having different number/voicings of reed sets.
  8. Yes, wondering from the badges if this concertina has post/lever rather than riveted action?
  9. This is the idea behind the 37-key trebles some of the hybrid makers do. Morse, and I believe, Marcus. I think Wakker also does an EC with fewer super-high notes. Nobody plays those high notes for trad music, and losing them lightens and quickens response a bit. I like a 48--a TENOR 48, that is. Or a BARITONE 48. The high notes on a treble are a ridiculous waste of the ergonomic area where your fingers fall comfortably on an EC. If I'm going to have more than 37 ish EC notes, I prefer lower notes--on a Tenor, they are are delightful for adding some bass sounds as well as for playing an octave low in "baritone" mode when you feel like it.
  10. [[[is that the recording aspect you're struggling with, or rather the recording process?]]]] I don't know how you mean "recording aspect" versus "recording process," but it is the tech aspect I'm allergic to. I don't even post photos when I've sold instruments on the internet, allergic to figuring out how. I sell in person, price fairly, and describe truthfully, and they've always found homes with delighted purchasers.
  11. Peter, I don't think I've seen that photo of her. It is luminous and numinous, and thank you.
  12. I've bought a few of the releases by Raelach, and always buy the CD version. But I must admit it's very convenient with that label that if you buy the CD the price includes digital download and unlimited streaming of the recording. I do tend to listen to tangible formats---LP, cassette, CD. But the realization that so much stuff I consider vital portions of the Trad Alexandria is disappearing, has me thinking about putting the stuff on the hard drive and then making my own homemade 2nd-copy CDs to play while keeping the original in the pantry. Much for thought in all this. I was reading Raelach site material during my last purchases, and came across an interview in which founder Jack Talty (who has his own lovely concertina CD in his label roster, along with concertina CDs by Liam O'Brien and Cormac McCarthy), stated that last year there were one-hundred-and-sixty trad recordings released. The context was the crowded field, and the competition for ears. Fiddler Aidan Connolly, who has a wonderful recent solo release on that label, also cited this figure in one the mini-interviews Custys now does during those little player clips they post. He filmed one just before going out to Pepper's Feakle for a release wing-ding. And when John O'Connor asked something like, Do you think you'll record again, or, Now that you've done it would you still choose to make this record, Connolly hesitated a while, said he wasn't so sure, and then brought up the crowded field and that "160" figure. So Peter, when you say you "the book is closed," or, you let TBGY "slip away," does that mean the master is destroyed or disappears? I don't know anything about record engineering.
  13. There is gentleman playing tango on an Aeola, on YouTube. And it sounds lovely. Different from a bandoneon, bien sur. But lovely all the same. The search words are: Tango on Alto-Aeola. Then there is a minor-key, "melancholic" Polish tango on Crane duet. The search words for that one are: Polish tango ostatnia niedziele
  14. He appears to be fingering the tune on his EC on camera, at least, more or less. But the track on the sound doesn't seem to be what he is playing on camera, does it. There's also something un-concertina-sounding about what's on the track. But it doesn't sound particularly accordionish, either.
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