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Greg Jowaisas

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About Greg Jowaisas

  • Rank
    Heavyweight Boxer
  • Birthday 03/03/1909

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  • Gender
    Male
  • 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. 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. 
    Stephen

  2. 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
  3. 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
  4. 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.
  5. 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
  6. Gary Owen. In the USA associated with the 7th Cavalry (and Custer's last stand...)
  7. Could use replacing or...needs shimming. In the case of a single area that is not sealing carefully lifting the chamois from inside the bellows pan (I use a short, blunt screwdriver with a broad blade to pry up the chamois) and then shimming beneath the chamois with card can stop an area leak. (thickness of index card is a good way to start.) Before gluing everything down with a minimal amount of white or hide glue you can reassemble and test the seal. Before attempting to remove the entire chamois determine what material the manufacturer has used. Most vintage concertinas pre-WWII had the yellowish tallow colored chamois we are familiar with. After WWII Wheatstone often used a thin leather with a finished side. The proper leather can be difficult to find. The yellowish chamois can be found in the automotive department at Target. The trick is to examine and get a piece with relative uniform thickness. If it is thinner than the existing chamois it can be shimmed. If much thicker then that is a bigger problem. If the entire bellows chamois needs replacing work the inside chamois free all the way around and then pull free the narrow top seal (between the bellows and action box. If possible free as one piece to use as a template for cutting the new chamois. Some judicious scraping may be necessary to remove remaining glue and chamois "skin". (I only dampen with water as a last resort. It can result in a sticky mess.) I glue the new chamois to the thin, top edge of the bellows pan first a couple of sides at a time. Again, use the least amount of glue possible and keep your hands and tools clean so the softness of the chamois and its sealing properties are not compromised. Once the chamois is securely glued around the top edge then any necessary trimming or shimming can be done before gluing down the inside of the bellows pan. I like to situate the action box in its proper place and press the end bolts in. This leaves an impression in the chamois and an awl can be used to make a hole so the end bolts can tag into their fastening plates. Good luck, doctor. It is not brain surgery but prep and planning will help your patient to a full recovery. PS. A rotary cutter as sold at a fabric store coupled with a straight edge is the ticket for cutting your replacement chamois strip(s)
  8. I'm getting images of Stan and Ollie (Laurel and Hardy) cavorting on stage as Alan plays!
  9. Yikes! Please stop and get the Dave Elliott book. This is not a good way to file a reed. "Scratching" at right angles to the length of the reed is an invitation for tongue failure. (Although thankfully it appears you were using a light touch.) Best to practice your file technique on some metal material other than a concertina reed you intend to use. Like any tool, using a file efficiently and without "destructive affect" takes practice. Practice getting a smooth, even cut all the way across a piece of material with the flat of the file. Practice with a material that has similar dimensions to the width of a reed. (It is very easy to inadvertently tip file and file more toward one edge rather than flat all the way across. It takes PRACTICE to get a feel for doing this correctly. Keep monitoring and looking at your work as you practice to make sure the file is not tilting. The cut should be at a 45 degree angle to the length of the reed/material. (Hopefully other reeds in the instrument have the proper orientation of file marks.) As advised, use a shim (feeler gauge type thickness) under the reed tongue for support and to protect the reed frame. You can quickly compromise or ruin a reed with poor filing. Only after you can reliably control the file on practice material should you attempt an actual reed. (And even then you are always checking the file marks to make sure of the cut.) If in doubt, stop, and seek professional help.
  10. A 4 inch scraping blade can be very useful. Something like this: https://www.flooranddecor.com/goldblatt-installation-materials/goldblatt-4in.-wall-scraper-blades---5pk.-100380880.html?gclid=Cj0KCQiA04XxBRD5ARIsAGFygj_givYqiqW8mbSuFz4wE32cpY5CfsIOI3cJy7T85QQ8P8zH3uQKks4aAi-BEALw_wcB Take your time and make sure you are cutting chamois and not wood. After you've affected the separation the 4 inch blade held perpendicular to the button pan can be useful in scraping off the glue residue and chamois left behind. Do watch your fingers! These blades can be very sharp.😱 Greg
  11. This scam listing has been around for a long time and periodically resurfaces. Usually appears simultaneously with a Wheatstone Aeola listing (which I believe was already reported and taken down) Greg
  12. https://www.columbiaorgan.com/columbia-leather-home/ Nice, helpful folks. BTW most Edeos have hook and arm action which can, with some patience and care, be set up to play nicely with a relatively light touch. While rivet action may be advantage: Aeola, the Edeo does have some discreet charms which some find a match or superior to the Aeola.
  13. Day of Thanksgiving in the USA. One wonderful thing to be thankful for is this great concertina site. I've been coming to concertina.net for over 15 years. Never ceases to amaze me how much I've learned and enjoyed concerning concertinas from all the players, makers, repairers and aficionados the world around. Many kudos and thanks to creator and administrator Paul and administrator and site manager Ken. Your hard work and attention makes this a better concertina world for everyone. Greg
  14. A device which helped me develop speed and enabled me to "play through mistakes with others" is a slow downer device or program. Many digital recording devices have this feature and there are various downloads of it for your computer. My favorite is "The Amazing Slowdowner". These programs allow you to take a recording or CD and adjust the speed without changing the pitch. (Or, vary the speed AND pitch to match your instrument) It is also possible to take a troublesome section of a tune and loop it to hear or practice it over and over. Some things that can happen using a slow downer. You can adjust the speed of the recording so you can play along comfortably. The recording will help you keep good time in your playing. (You will know when you break time, speed up or slow down) If you make a mistake you can join back into the recording asap without embarrassing yourself or throwing someone else off (as at a session). Gradually, over time, you can incrementally increase the speed of the recording until you are playing at session speed. While not the same energy or chance of distractions as at a live session, playing with a recording will get you accustomed to hearing your instrument in the context of others. I'd also suggest being patient with your progress and not let expectations get in the way of enjoying yourself. It is a musical journey. People start in different places with different amounts of experience. Yours is unique. Enjoy the adventure! Greg
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