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Greg Jowaisas

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About Greg Jowaisas

  • Rank
    Heavyweight Boxer
  • Birthday 03/03/1909

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  • Interests
    Traditional and Old-Time American folk music. Irish Trad.<br />Banjo, Anglo and english concertina.<br />Repairing and rebuilding concertinas.<br />Making concertina cases.
  • Location
    Kentucky, USA just south of Cincinnati and the Ohio River

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  1. Alex, Measurement of the thickness of the reed shoe and picture of the reed assembly particularly the clamp screws would be helpful. Thanks. Greg
  2. Hopefully, with kindness...and opportunity!
  3. Perhaps mounting;placing the reeds in the interior of the reed pan?
  4. The inked # stamp is consistent with Tidder instruments. I "think" I am seeing the ample gussets in your pics which is also a Tidder trademark. Unfortunately the heads on shot of the action board and mechanism give no further clues. (A 45 degree angle shot and closeup might reveal more.) Not sure if I currently have a Tidder in the herd or project closet. The corner block bracing on the action board may be a distictive clue. My experience with nearly a dozen Tidders is that they are of consistent, comparable quality to the mahogany Lachenals. The only annoying drawback with Tidders is that the outside bellows runs seem to be covered with sheepskin or another softer leather that is not as tough and long wearing as goat.
  5. If the hand rests are not stamped then it could be a Tidder (it will have exaggerated, extravagant gussets) or a Nickolds (often 'G' shaped pivot posts in the action box) A picture of the action box will help identification guesses.
  6. Thicker, softer valves? Eva foam on the chamber wall(s)?
  7. Perhaps humidifying the room or area where you do your most playing would help. My pet theory is that if we play our concertinas in low humidity environments then in effect we are drying them from the inside out as we pump dry(er) air through them. Probably doesn't hurt the concertina player's skin and well being to get a bit of winter humidification as well.😄 In my personal case I use a small room humidifier in a 12x12 office where I do much of my playing and practicing. (For much of the year it takes concerted effort to keep the basement workshop below 80% relative humidity!🤒) General consensus seems to be that wood loses humidity faster than it takes it up so it may take awhile for noticeable improvement. My recommendation to clients is to try and keep the relative humidity in the 50-60% range. One caution would be to make sure the concertina and its reeds are in the same temperature range as the room to prevent any condensation inside the instrument.
  8. I would check to make sure the support blocks for the reed pan are secure and the right height. If the chambered walls chamois is lower than the surrounding bellows pan chamois then air will escape and the reeds in this area will not get the benefit of full bellows pressure. inspect the reed pan height and give each support block a good tug. Sometimes the support block appears secure but is only glued tight to the chamois edge but not the frame. You want all the blocks firmly glued to the frame so the reed pan is held rigid and the pad board can seal against the chamois. You might also check that the reed pan edges are sealing against the bellows pan chamois in the area of the weak notes. (A 20b rosewood Lachenal reed pan usually does not contact the two opposite sides of the bellows pan chamois with it its "long" sides but the chamois on its outermost chamber walls provide the seal in this area.) Good luck, Greg
  9. Hi Greg,  I hope this note finds you well I tried to contact you via your email address but perhaps that has changed. As you could say I am back on and getting into the music again after having some thumb surgery and freeing up time as I still work full-time and my job but have made a determination to spend more time with my Music.   How are you doing would love to hear from you. 

  10. Hi Bill. I'm right handed, so holding the reed assembly in my left hand I use my LH index finger to hold down, brace, if you will, the tip portion of the reed. With my RH, holding the dowel or setting tool I push up on the tongue from under the bottom of the reed assembly about 1/3 to `/2 way back of the tip. This will give the profile you may find desirable for the longer reeds. Then you may need to adjust the set of the reed in relation to the reed shoe. With the medium sized reeds just getting the tip of the reed to clear the shoe is usually enough. (In that case I pin the tongue in the middle with the LH index and push up on the tongue close to the tip from underneath with the tool) Some of the smaller reeds may require little or no elevation above the reed frame. (See diagram page 41 of Dave Elliott's book) Pretty subtle reshape but you may find it helps the longer reed respond better than simply pushing up on just the tip. I'l
  11. I like to use a thin dowel to set reeds. Perhaps a 1/8 inch in diameter and slimmer toward the tip. Less likely to slip and I think it helps "put me in touch" when setting brass reeds which need a more gentle approach. As per Dave's book the longer, lower reeds may need to be set farther back from the tip so a longer portion from the tip rides just above the reed shoe. To do this I place the setting tool under the tongue about at half way the reed's length. While holding the reed frame in my hand I use the index finger to hold the reed tip down while pressing the tool up with my other hand. This will put a very tiny and gentle bend in the tongue so perhaps the last quarter to a third of the tongue toward the reed's tip rides even or just above the frame. Then you can adjust the set distance of this profile as needed. As a general rule for low reeds a distance of 1&1/2 to 2Xs the thickness of the reed can mean a useful set. Bill, I probably don't have to remind you how easy it is to set brass as opposed to more resilient steel. For anyone who has not worked with brass before please GO SLOW and be GENTLE. If you don't use a light touch it is possible to weaken a brass reed to the point of breaking. Good luck, Greg
  12. Yes, wonderful accompaniment and chordal treatment. At about 35:00 check out the "ergo" sleeves he wears and slips out of. 51:40 he slips out of what looks like fingerless "gloves" with intact glove thumb tucked into the thumb strap and wrist part of the glove continuing past the wrist straps. So perhaps a "skin saver" more than an ergonomic adaption. (?) Just past 51:00 you can get a pretty good look at the LH side of his concertina. Looks to me like a Wheatstone "ring" label. Earlier views of the RH side show what looks like an oval brass Wheatstone(?) badge.
  13. I had a discussion with Noel Hill a few years ago about the pad hole beveling on Jeffries instruments. If memory serves his take was this was primarily a post manufacture modification inspired by treatments done to instruments in the flute community. I remember Noel shaking his head and believing this treatment was unfortunate and unwarranted in most cases as applied to concertinas. It would be interesting to get Geoff Crabb's take. He is our strongest existing link to the Crabb/Jeffries tradition. Greg
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