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Greg Jowaisas

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Everything posted by Greg Jowaisas

  1. These "in case" devices no doubt help. However, I think of these as a "static aid". Each year I usually remind concertina players that playing their instruments in humidity poor environments is in effect drying them from the inside out as the dry air gets pumped through. I like to think a more dynamic approach to helping a concertina through the winter is to actively add humidity to the playing environment. I recommend a small room humidifier in the area where the concertina gets played most often. I've found that while concertinas can adjust to lower humidity over time they
  2. Back in action in January (just about filled with scheduled repairs) and scheduling repairs in February. No Christmas pyramid from me this year, but Doug Barr has captured the spirit here: BTW all those instruments in Doug's "tree" passed through my workbench. Merry Christmas and holidays to all who sent concertinas for repair in 2020 and who will send instruments in 2021. Let's keep 'em playing! Greg
  3. Could be a curled valve that reluctantly seats upon increased pressure. If pressure is quickly applied you may get a "slap".
  4. Riggy, Email received and response sent. The fioptics address is correct. Greg
  5. Stephen and all, To quote "Spamalot" I'm "not dead yet." In fact have been quite busy with concertina repairs and refurbishment during these Covid times. Family and I are doing our best to stay healthy and here are hopes the concertina community can do the same. Best regards, Greg
  6. A few aids and ideas that might help. The Dave Mallinson books ("100 Enduring Irish Session tunes", 100 Evergreen Irish..." etc) usually have a decent, basic rendition of a tune. You can add the embellishments as you or your instrument dictate. They also can come with a CD so those of us challenged by the printed musical page have an audio reference. The CD format coupled with a computer "slow downer" program would enable you to keep the CD's correct pitch while dialing the music speed to suit your current ability. Individual passages can be looped for practice repetition
  7. Alex, Measurement of the thickness of the reed shoe and picture of the reed assembly particularly the clamp screws would be helpful. Thanks. Greg
  8. Perhaps mounting;placing the reeds in the interior of the reed pan?
  9. 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.
  10. 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.
  11. 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!?)
  12. 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.
  13. 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
  14. 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 m
  15. 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.
  16. 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
  17. Gary Owen. In the USA associated with the 7th Cavalry (and Custer's last stand...)
  18. 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-
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