Greg Jowaisas

RiverHamble, I think you will be able, for practicality, to treat the treble music staff as if you were playing a treble (Jackie) concertina. If you play parts with other concertinas or instruments they might want you to read (Help me here those of musical literacy....) from the bass clef? Many prefer the lower sound of the baritone for song accompaniment. Nice choice. Greg

RiverHamble, I'm with Alan. Sight unplayed I'd favor the Rochelle. You will have a great advantage being able to play the instruments at the Music Room. And yes, do give the Jackie and english system a whirl. There have been lots of good shanties played and accompanied with the english. Jigs and Morris music are certainly within the english concertina's capabilities. Sometimes folks immediately prefer one system (anglo vs english) over the other. Sometimes the choice is made because one of the systems is totally baffling to them. Hopefully, more information= better choices. Enjoy your adventure! Greg

Congratulations! Remember that the air button is your friend. Enjoy the adventure! Greg PS. Nothing wrong in being excited about your new box. Ihe instrument will be there for you even when *.....cough* may be in short supply!

I remember a Crabb crane on ebay about two years ago. If memory serves it had engraved ends and about 72 buttons. I believe one of cnet's members can elaborate. Greg

Aogan, Presently there is a G/D Jeff for sale in Cnet's Buy and Sell forum: http://www.concertina.net/forums/index.php?showtopic=6645 I think Peter has ballparked the current prices. Ireland seems to be heading the list of competitors for C/G 31b Jeffries. I have the impression that for a strong, unabused instrument in decent playing condition that there would be takers in that market at the $10,000. USD range. The flat keys seem to be running a bit less, say $6000. to $8000. I think G/Ds are driven primarally by the english/anglo market. Wheatstone Linotas seem to come up for sale less often than Jeffries. Even the 30b rosewood Lachenals appear to have climbed toward $2000.00 in unrestored condition. Of course we all may be trading our concertinas for barrells of oil before long! Greg PS. Some of the "new" vintage instruments are drawing high prices as some folks bid to shorten the waiting time.

Fredelka is a conditioner that archival bookbinders use as a restorative and preservative. Seems to be wax based. Claims not to wick through leather. Distributed Exclusively by: University Products, Inc. Holyoke, MA toll free # 1 800 628-1912 cat. # 532-0875 I bought a jar from Paul Groff who recommended it. Paul's advice was that a little went a long way and not to apply it until all necessary bellow patching had been done. Greg

seanc, You should be very careful what you put on your bellows. I have witnessed the effects of what I could only surmise was an over liberal application of conditioner on the bellows of a new, expensive and elite concertina. The result was enough to make me want to cry. Most bellows are card (matboard) individually cut and held together with glued leather, and in some hinge joints, linen. The outside of the bellows are covered in leather pieces which include gussetts, end runs, and top runs. When these are all in place the bellows are airtight. The only uncovered card left is a trapazoid shape that gets covered with a decorative paper, synthetic black material or thin leather. Bellows need to be flexible but still rigid enough to work as a unit and provide a platform for finger action. It is a delicate balance. The breaking in process takes time. I don't think there are any chemical shortcuts. Leather used for bellows is basically airtight but remains absorbant. If you use an oil based conditioner that permiates the leather there is a chance it will be absorbed by the underlayment of card which is the skeletal foundation of the bellows. This could lead to loss of the card's integrity (It is really layers of pressed together paper). Leaks, card separation, failure of the folds to work as one unit are possible consequences. While the worst case might not happen in application of very SMALL amounts of conditioner, why take a chance? My experience and I believe the consensus in this forum is that a light application of a wax type shoe polish or paste is ok for squeeky or dry bellows. I would steer clear of the oil based conditioners like neatsfoot oil. I have no experience with mink oil but would regard it with caution. Saddle soap is waterbased but can lead to stretching of the leather. I would not use it on an instrument. The best way to break in new bellows is to play the instrument everyday and return it to its blocked case when not in use. In three to six months the bellows should be loosened up AND trained to stay closed. This has been my experience. I'll look forward to other's opinions. Greg

Chris, I have a number of instruments from the 1800s both Lachenal and Wheatstone with this treatment. In many cases it is a raw cork barrier with no chamois. I'll try and take a photo or two later today. Nice pic, Larry. Greg

My wife is also "surrounded" with concertinas. Somehow I'm not getting the same romantic results!? Lovely anecdotes. Greg

Hello Eva O, I live in northern KY close to Cincinnati, OH. Cincinnati has an Irish traditional music school, Riley School, that meets on Saturday mornings. http://www.rileyirishmusic.com/modules/home/ Wally Carroll does the advanced concertina class and Tim Clarke has been doing a beginners (just one person at present, I believe). Both are excellent players and instructors. As far as Columbus, OH area players: You've met Alan via this forum already. An Irish trad string musician, Randy Clepper is working on anglo and so is a fellow named Brook, who attends Riley School. I think there might also be an attendee from this summer's Noel Hill camp in your area as well. And I believe Jeff stallard, who belongs to this forum, plays an english concertina. So I'd say you have the makings of a support group in your area. Presently one of my main areas of attention is the repair and refurbishment of concertinas. So you may want to be in touch when you are ready to move up to another instrument. I'm also available for workshops or private lessons. Hope to meet you soon, Greg

Chris, Photos or description of the action mechanism? It looks very Jonesesque to me. I have a 20b Jones with similar papers. I have also seen the smaller, double thumb button arrangement on Jones instruments. Greg

Daniel, I've posted a picture of the action mechanism of a Wheatstone miniature from the 1950s. This "bent over" action had a small advantage over Lachenal's "hook and eye" in providing more lateral stability. The earliest example of this type that I have come across is Wheatstone # 33301. The ledgers have this as 1934; I mistakenly said 1932 in the previous post which I will now correct. While wear to the rivet's pivot could cause problems I think the consensus is that rivet action is on a whole smoother, quieter and more trouble free than bent over or hook and eye. "Quicker" is pretty subjective and may rely more on reed response. However, a good rivet action may require less spring pressure. Greg

Neil, From the "keyhole"shaped pivots and fretwork I would definitely vote Jones. The steel arms are another clue. I believe George Case and Joseph Scates had a similar pivot. I have never seen a Case or Scates anglo. Crabb and Jeffries used rivet action. Wheatstone under Childley adopted rvet action around 1870 and used it until about serial #33300 (1934). Although uncommon Lachenal rivet action exists. I have an Edeophone to restore that has rivet action. Greg

Thanks for the clarification, Robin. Actually I think I've confused the fermata with a "squiggle" that is common to fiddlers and signifies a place for ornamentation. I've confused a lot of standard notation in my checkered musical career but must admit that in attempting to learn Irish tunes my note reading is improving and helping the learning process. The other tip I might suggest for seanc is to treat learning Irish trad as you might learn a language. The written page can indeed help but listening, listening and listening until the phrases start making sense and finally can be repeated and then repeated with meaning and finally your own phrasing can express feeling is the key to really learning a language or a music. Many suggest immersion as the best way to learn a language. Noel Hill suggests going to sleep with the Cd player at a low volume playing the tunes you are working on. I've tried to have my favorite Cds playing while I cut the grass, build cases in the workshop, work at the computor, drive to the store, etc. Again, it all takes time. Enjoy the journey. Greg

seanc, There is a nice series of books and accompanying Cds put out by Ossian. Elderly instruments is where I got mine. They are commonly refered to as "The orange book" or blue or green etc. The Cd tunes are in medley form and are played on fiddle. The books have a faithful standard notation of what is being played. ("Irish Session Tunes in sets by Sheila Garry-fiddle Brid Cranitch-keyboard) What may be of interest to you is that when a major embellishment or ornament occurs the notation resorts to a standard figure of an "arch" over a "dot". I suppose this stands for "embellish as you see fit". What I have enjoyed doing is following the notation along with the Cd and then listening to what the fiddle player fills in. By listening again and again and using a "slow downer program" I can usually approximate what the fiddler is doing. It isn't always a perfect match; concertina and fiddle don't always ornament the same way, or my technique may not be up to the task. Simon wells addresses some of this in his manual. Anyway, I have found that the Ossian materials give me some insight into the process. Best of luck, Greg

Chris, Do you have a serial #? # of buttons, reed type, distinguishing marks and construction would help. I have an early Wheatstone. It is from about the same period and is #1078. Rosewood ends nickel silver reeds, a finely done Lachenal hook action, pine baffles. Probably worth $800 to $1000. USD when I get around to fixing it up. Other than some occasional interest from notables like Neil Wayne I haven't seen a great premium placed on early 48b instruments. The 32b and 36b iinstruments seem to draw Neil's and Stephen's interest but seem to go in the $400. to $700. range on eBay. The "optimistic" buy it now price that was asked for the 32b currently for sale drew no response during the first listing. Besides construction quality I imagine ownership history might factor in on price. Concertina.com will help you determine if your instrument hobnobbed with royalty. Greg

In the Midwest USA (I'm in KY) Tandy Leather is a decent source of leather and supplies. But I often buy leather by the hide. You may find a saddle, horseman's supply or a shoe repair shop a better place to find just a small piece of leather to make straps. There may also be a regional leather supplier in the Boston area who has a scrap and small piece bin. You'll need a pair of leather shears (or be able to carefully use a matt knife) and probably a hole punch. If you get stuck I can make you a pair of black chrome tanned straps $15. ppd. Just send an accurate tracing and placement of holes. Greg

Hello seanc, We have all, to varying degrees, been where you find yourself. At Noel Hill camp Noel says if it is a question of learning and playing a tune well without the ornaments or learning it poorly with the ornamentation then go for the unadorned version. Play the music well and the ornaments will come. Attending a music camp with an experienced concertina teacher can open some doors quickly on how to use your instrument best for ornamentation. Books can help too. In the Learning section of cnet's home page is a "Supplimentary Tutor for the Anglo Concertina by Simon Wells. You might find Simon's thoughts and approach helpful. If you want the sounds and mechanics of ornamentation then Frank Edgley's tutor gives clear examples. Finally, there is no substitute for listening to your favorite Irish musician be it on fiddle, pipes, concertina, flute etc. until you can diddle the tunes right along with them. Pretty soon you start to hear where you can stick some of the diddles on your own instrument. It takes some time and practice. Enjoy the journey. Greg

Dan, Congratulations on your new squeeze! It will give you years of pleasure and music making. Do use the bocked case religiously for the first six months to "train" your bellows to the fully closed position. A bit of dilligence now will pay off in a lifetime of effecient bellows playing. Besides you don't want any drywall dust on your concertina! Best of luck with your playing and renovation. Greg PS. The fit of your concertina in its blocked box should be snug. Use two hands to put it in with the airbutton depressed and bellows fully compressed. It should just slide in. Then when you release the air button and take your hands away the instrument should expand slightly to snug itself in. I'm sure The Button Box will advise you if this does not seem comfortable.)

Certainly a cautionary tale. Worth a listen and great fun! Thanks for sharing. Greg

Yes, it seems that Jeffries deemed desirable for the Irish trad market (30b and C/G) have been escalating toward 10k seemingly regardless of condition. Wheatstone Linotas appear even less often and are similarly sought after. Some sellers seem ready to hitch their instruments to the meteoric rise of the Jeffries and Linota prices. Crabb made a fine concertina in many instances but each instrument needs to be judged on its own merits. This of course, with any good sense, should apply to the Jeffries and Wheatstones too. The resemblence of some instruments to the Jeffries that are bringing the big prices may embolden some sellers to ask for Jeffries like prices. Whether this 1969 Crabb is "worth it" or not will have to be determined by the prospective buyer. I did note that an eBay Bb Crabb went for $7,300. recently. It sounded like a strong instrument from the sound file of Roger Digby's playing. (It was also a Crabb from the 1890s when Crabb may have also been supplying Jeffries.) Momentary spike or escalating trend? We shall see.... Greg

Larry, Really enjoying your class experiences and descriptions. Well done! and invaluable for those making plans to study and learn from a master at their next concertina camp. Thank you so much. Looking forward to the next. Greg

Mike, I have to wonder if "breaking in" doesn't have more to do with the instrument as a whole system rather than the reeds or isolated parts. Many of us have experienced or heard stories of instruments coming out of the closet and seeming stiff or not playing to their full potential. I think many of these instruments improve as they are played. Perhaps the parts "settle in"and work better as a system. Sometimes the improvement is slow and doesn't meet our expectations and we become impatient. Even the brand new "wonder" instruments that sound great "right out of the box"and are built to high tolerances like the Dippers, Carrolls and Wakkers seem to improve with time and playing. The quality of the reeds in an instrument certainly deserve our attention but lots of other factors are involved in having an instrument play well. I have a Linota that seemed stiff. Good sound but so physical to play it was no pleasure. I even lent it to a strapping young man to play for a year in hopes he would "loosen" the reeds up. No luck. His chest seemed to get bigger by the end of a year but the instrument was no easier to play. I tried a number of remedies but it wasn't until Malcolm Clapp steered me towards thinking about the interplay of spring pressure, instrument weight and reed response that I was able to make significant progress. Perhaps the engineer oriented or metellurgical experts can comment on the physical effects of exercising reeds. As a concertina repairer I know I cannot leave a high b on the tuning bench for very long with the vacuum pump running. Metal fatigue and subsequent material failure is not a pretty thing! I salute your efforts to find a way to improve the sound of new reeds. I'm in Chris' camp however in thinking the best way to get better sound out of the player/instrument system is to put the reeds in your favorite instrument and practice, practice, practice! Good luck. Greg

I didn't recall seeing the pics of the Aeola anglo before so I kept on reading.... Definitley a scam! He is also selling a previously listed bright blue chemnitzer and a duet that keeps popping up on eBay like a bad penny! The instructions to circumvent eBay channels and short listing period are warning signs. So is the discrepency in member location and item location. There is a good possibility of a hijacked eBay account. Unfortunately the scams can hurt the legitimate concertina listings. Greg

Larry, I, for one, would love to hear about your camp experiences and impressions of your teachers. You can stick to the positives and strengths. It is often helpful to know what to expect when contemplating a camp or instructional opportunity. Shared experiences help make informed choices. I suppose a few cautions or recommendations regarding transportation and accomodations might also be helpful. Thanks for sharing your experiences. Greg