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Luke Hillman

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About Luke Hillman

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  • Gender
    Male
  • Interests
    Concertinas, chickens, and the Morris
  • Location
    Berkeley, CA

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  1. Oh hey, that's me! Thanks for providing tabs, RJH. I first heard it from one of the Button Box's demonstration videos (starts at 00:29) and played it from memory much later, so I didn't get the chords 100% right. Thanks Petey, credit for that arrangement goes to @adrian brown: video
  2. My main squeeze is a Clover, which I bought in 2015 before I had any experience with anything else. Really excellent little box. You won't be disappointed.
  3. You're actually stretching the limits of my poor, sub-literate musical lexicon, but... yes, the chords are mostly arpeggiated right up until the ends of the phrases. I don't believe I omitted any thirds; if I did it was likely due to incompetence. For me, the upper end of a C/G concertina (or a D/G melodeon) is almost intolerable, though it's better to my ear with traditional concertina reeds (like on this Jeffries) than on hybrid accordion reeds (like on my Clover). Since I prefer to keep my melodies on my right hand and my harmonies on my left, for sanity, I spend a lot of time up in that range when playing English music in G. It's great for being heard, but not so great if you're playing for your own enjoyment, in my experience.
  4. Thank you for your kind words @Nabio! My favorite Morris tune. I learned this version from @adrian brown's video here. I play by ear and don't have the sheet music for this exact arrangement, but these chords seem to be accurate, and there's lots of free sheet music for the melody out there (for example). Hope this helps. You can absolutely play this on a Wheatstone anglo; in fact, my other concertina is a 30-button Wheatstone one. The only problem is that I like to play this tune in F, and on my 30-button C/G, I don't have the very highest note (third measure of the B part) in the right direction. I don't have a layout chart in front of me, but you'd probably have that note on a 40-button Wheatstone. It pains me to say, but when I play it on the 30b, I usually just play the chord and leave that note of the melody out, hoping that the listener's ear will fill it in. You could play it in another key and have all the notes. G works, and is traditional, but it's so squeaky!
  5. Deleted, I meant to send a PM.

  6. So far very little interest, so I'm reducing my asking price again. Message if you're interested.
  7. Cheers @Jake Middleton-Metcalfe! I suppose I have plenty of time to post more videos, considering the present situation. Hope you're doing well over there.
  8. Reasonable offers considered. If you're curious, PM me!
  9. Price reduction to $6,500. It would be great to find this box a new home for Christmas!
  10. This concertina has been sold. I have a 38-button C/G Jeffries anglo in excellent condition for sale. I've had it for two years, during which time it's been beautifully restored to top playing condition by Greg Jowaisas: New 7-fold bellows All reeds are Jeffries and sound great 1/5 comma meantone tuning Sometime in its—likely South African—past, this concertina had its ends re-plated and its buttons replaced (see pics). The buttons lack bushings. The new owner may wish to correct this; it doesn't bother me. Listing includes the hard case, newly blocked for this instrument. Photos (pics of the internals are from Greg; I haven't opened it up myself): Demo Video | bonus video: Orange in Bloom I am told that this instrument could likely have more work done to optimize its action and airflow, though it plays quite well by my reckoning. Selling because I use my other concertina more for gigs and, though it's a great box, I never really "bonded" with this instrument -- I think I'm leaning in the direction of eventually getting a mellower instrument like a Bb/F or a G/D. If you have any questions please don't hesitate to reply to this thread or send a PM. As of April 2020, Asking $5,000 (selling at a rather steep loss, but I'm interested in seeing it successfully re-homed soon). Reasonable offers welcome. I'm in the San Francisco area and will happily ship wherever (free shipping to the US or Canada).
  11. Will do, Adrian. I know some people who regularly host house concerts but will do some investigation into larger venues as well. Love the second Vernacular video, by the way.
  12. Ooh, something I can talk about from experience. I have a consumer-grade FDM printer -- that's the most common type; it works by squeezing out plastic filament layer by layer. Think glue gun attached to an etch-a-sketch, controlled by a computer. You're mainly limited to ABS (same plastic as legos) or PLA (like compostable bioplastic food containers). I really wanted to be able to do the kinds of things being talked about on this thread, and my general conclusion is that it isn't worth it for more than temporary fixes. This is just my perspective as a hobbyist. Pros: You can quickly test out the general size and shape of something you designed. Which is its own kind of satisfying, even if your object is ultimately unusable. For cheaper Scholer- or Hohner-type concertinas, which are larger and have more plastic components anyway, printing replacement parts is more realistic. I was able to print a couple replacement buttons for the Scholer I started out on, but those were large-ish, uncomplicated plastic cylinders that only had to be epoxy'd onto the wooden action. for the bits of the concertina that don't have anything to do with sound, printing can be a lifesaver in dire circumstances. E.g., I broke my wrist last year at the beginning of Morris season. I designed and printed a custom hand bar replacement that fit the shape of my cast and prevented it from sliding around, thus enabling me to at least play melodies with my left hand. To be fair, I could've just carved something out of wood, but hey, I didn't have great use of my dominant hand. Also ended up printing a replacement handle for someone's case. Cons: Print resolution has been prohibitive. It isn't realistic with an FDM printer to do appropriately-sized buttons for standard instruments with riveted actions. (Lack of) durability. Depending on your printer, your mileage may vary. If you print at really slow speeds and use as tiny a layer height as you can, you might get something usable, but it will be fragile. Ridges. Unless you go nuts with post-processing, you're always going to have the ridges characteristic of all FDM-printed objects, which may bother you if your fingertips are in contact with the printed object for long periods of time. Build volume. Though this is improving, most consumer printers are limited in terms of the size of object they can print in one piece. I haven't tried to do anything big like fretted ends or reedpans (not interested in that sound), but most consumer printers are going to have to do them in two pieces. Edit: RAc seems to have had good results with Shapeways, which is a way you can get around this limitation, but they get expensive (of course, buying a printer is expensive too). I should say, if you splurge for one of the "prosumer" SLA printers that can do dental-grade prints ($5,000 and up), you'll have a different experience, but it'll still be plastic. Hope for the future: I wouldn't say that it's absolutely inappropriate to experiment with plastic instruments, long as it's acknowledged that they're imperfect prototypes. There's even a fully-printable violin that anyone can download. Obviously being demonstrated here by a pro, but it's far from the worst thing I've ever heard. Some people have gotten good results using a specialty filament that's partially made of wood, so that's interesting too. TL;DR: I wouldn't buy a 3D printer thinking it's going to be useful for concertina repair, but they're their own kind of fun.
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