Greg Jowaisas

Dana, We've never met but I've seen the joy your instruments bring to their owners and I've read your knowledable posts with great interest and respect. I hope your health problems are only temporary and that you will be able to resume your life's passions in the future. Best wishes, Greg

Did I miss something significant about this instrument? http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...A:IT&ih=011 Certainly nice enough but I would have thought $1000. to $1500. would have carried the day (and auction)! With the new eBay hidden bidder format it is much more difficult to tell if the experts were in on the hunt. That sometimes offered a clue and a partial education as to what to look for in future auctions. Does $3800. and change seem excessive to anyone else? Greg

Thanks, Ed. Great stuff!! I was a going to ask about tune and artist identification when I scrolled down and found you had taken care of that. Very thoughtful of you to share. Greg

Dave, I mean a paper/mattboard shim under the existing chamois of the reed pan chamber seals. (the thin spokes which run from the center of a radial layout or the thin parrallel walls on some anglos.) Paper/ mattboard will taper easily for transitions. Keep the glue to a minimum. Good luck, Greg

An 8" X 8" piece of clear glass can be a good tool to determine flatness or lack there of an a sound board or reed pan. You may be able to determine the irregular area and monitor its possible seasonal shift. If the warp/irregularity seems permanent and keeps causing problems the appropriate thickness of paper or cardboard shim under the chamber chamois seal may be a remedy. Best of luck, Greg

Alan, I think the depth of the bellows folds is also a factor. The generous valley and peak of a Jeffries 6 fold can supply a lot more air than the typical Lachenal bellows even if the Lachenal had 8 folds. Brian Peters just visited our area. I can see how his 7 fold instrument might help with his chords and accompaniment. His instrument is a Peerless by Crabb and has robust bellows like a Jeffries. I had an eight fold Wheatstone from the 1950s that undoubtably came via South Africa. The bellows were not floppy. I always felt that the Irish music I try to play worked best if I stayed within half the possible bellows extension. Greg

Welcome to cnet., GrahamH. You are on your way! We are all here to help if you need it. Enjoy your concertina journey. Greg

Of course the problem in embarking to thank all the wonderful and helpful concertina enthusiasts in one's life is the danger of leaving someone out. As I was revoicing some newly tuned reeds I suddenly felt terrible that I had forgotten to mention and credit Malcolm Clapp. I can't begin to remember all the sound advice he has given me the past three years. If Malcolm lived closer to me or I lived closer to Australia, I would never have started repairing concertinas. I would have just sent them to Malcolm Clapp!! He is amazing!! So I need to "revoice" direction and acknowledge Malcolm. Sorry, Malcolm. You know what they say, "Out of hemisphere; Out of mind!" Best regards, Greg

There have been some recent nice comments concerning my case building and repair work in a separate topic. I want to thank everyone for the kind words about my work and I will continue to do my very best to live up to those standards. This seems like a perfect time to remember and acknowledge some of the wonderful people I've met on my concertina journey the past four years. Early on Paul Groff impressed me with his intensity and integrity. Goran Rahm got me thinking so much my head hurt. Wally Carroll has been an endless source of inspiration and encouragement and quite generous with advice and expertise. Malcolm Clapp has been a long distance mentor. He has provided good sense,guidance and exercised supreme patience until I came around to seeing things his way! Dave Prebble took time to recognize and respond to a newby and has been a constant source of good advice. Noel Hill supplied a map through the anglo minefield and showed what is possible. Michael O Raghallaigh gave permission to play and have fun. Geoff Crabb has been gracious enough to take my questions seriously, and reply and explain in depth. Stephen Chambers has always taken time to explain and respond. Chris Algar and Jim Shiels always seem to turn up wonderful instruments. Paul Schwartz provided this wonderful forum which jump started my learning curve and Ken Coles has proven an able and selfless administrator to keep the learning lanes open and flowing. And there are dozens of fellow students, concertina buccaneers, instrument makers and tinkerers who have helped and shared and inspired. Nearly without exception my fellow members of concertina.net have been supportive and inspiring. Thank you all!! The recent passing of Barry Callaghan and Pete Dickey have reminded me that our time together is limited. I'd like to open up the floor to anyone who'd like to acknowledge a special friend, mentor or inspiration. Greg Edited to correct the inexcusable exclusion of Malcolm Clapp, "Repairman Supreme".

I might second Theo's comments in that my experience with dozens of brass reeded instruments is that it is not necessarilly the brass itself but the manufacturing tolerences that make a difference. I have several 20b Lachenal brass reeded instruments that I use for conducting workshops that play like champs! and rival their steel reeded counterparts in responsiveness with nearly as much volume. Although the majority of the brass reeded Lachenal englishes that I have rehabilitated cannot compete with steel reeded instruments, I have on occasion found some that were very responsive. If played without over expectation of volume they have a distinctive sweetness of tone especially with chords and they seem to stay in tune. The two brass reeded, bone button Wheatstones I have on the workbench are very responsive and I wouldn't consider them quiet. Brass does not have the resilience of steel. Early in my repairwork I quickly realized that a brass reed does not recover from an accidental bending. Once over stressed it is only a matter of time before the brass reed will break. I'm sure that deep filing marks are potential points for dislocation and subsequent reed faiure. It is very important to "be on point" and paying strict attention when tuning brass reeded instruments. I tune brass reeded instruments by using abrasive paper rather than a file. It takes more time, but I prefer the outcome. I've heard some suggestions of using surgical stainless steel for reeds and even seem to remeber a proposal for titanium. Greg

Hello Gilly, Concertina playing can put some strain on joints and connective tissue. The where, how and why of that strain can be a very individual thing. Those aches pains and strains can depend on your overall health, or your playing technique, or your practice habits. Sometimes a peculiarity in an instrument can contribute to discomfort. I've personally found that vigorously playing reels for hours at a time is not good for my hand, arm or shoulder well being nor conducive to long term playing improvement! (I'm constantly reminding myself that I need a long term approach with short playing intervals and lots of stretching.) Anything greater than mild discomfort is a good reason to rethink your regular playing habits. A consultation with a doctor, especially one experienced in dealing with musicians and hand and connective tissue problems can begin a path to recovery in case of a health issue or injury. I've found that after the doctors visit that a referal to a physical therapist can really work wonders if you embrace the stretching and strengthening exercises they may suggest and continue to due them once your visits are done. There might be something peculiar to your instrument that is making an existing condition worse. Just like the doctors visit for your body, getting consultation from a repair person or experienced player can help you decide if a change to your instrument is necessary. Most of us have had to work through minor and/or major pain and injury issues. I'm sure I speak for us all in wishing you the best of luck in finding out what is bothering you and hoping you can continue to play concertina. Greg

The folk and concetrtina community of Cincinnati had the pleasure of Brian Peters' company for two days. Brian was part of a wonderful house concert with the British group Tana several days ago. For me the highlights of Brian's part of the concert were his ballad singing and of course, his amazing concertina playing. Oh, his guitar playing and melodeon work were also stellar. It was his singing and accompaniment on "Chips and Fish" and his amazing playing on "Dallas Rag" that put the biggest smiles on our faces. The next night he did a concertina workshop for us. Brian has a clear, patient way of explaining how to play the anglo in the English style. We came away with a better appreciation of morris music, some insights into William Kimber's playing and enough work and handouts to keep us busy for months. Thank you, Brian!! You lucky folks in Michigan and Illinois get to enjoy Brian before he heads home. Don't miss a chance to hear him perform or participate in one of his workshops. Great performer and teacher and all around nice guy! Greg

It was great to meet Alan and Randy at the pre-workshop. They will be back for Brian's workshop on Thursday April 26th. We still have some room if anyone else would like to sign up. Greg

Hello wreded, Try using the search box (I typed in valve leather) and when that result is diplayed click the search form that appears in the bold header. Type in valve leather again. That will give you very specific posts related to your search words. The link was: http://www.concertina.net/forums/index.php...e=valve+leather In doing my repair work i use valves made from hair sheep hides and use distilled shellac as the glue. Good luck! Greg

Just to update any interested parties: Brian Peters Cincinnati workshops are filling up. The workshop date is Thursday evening , April 26th. There are a few places left for intermediates. We still have ample room in the beginners workshop and 20b instruments available for loan to participants. Hope to see you there. Greg

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I am sorry to hear of Barry's passing. My contact with him was through ordering his films. When we had trouble getting me a Rueben Shaw DVD that was compatible with my system his calmness, patience and persistence spoke yards about his character. I will miss Barry and his artistic efforts. Greg

Lachenals are also known to be noisy due to a lack of felt bushing between buttons and ends. This is the area where the button's sides contact the fretwork. ("A chattering of Lachenals" is my endearing term for a gathering of these unbushed instruments!) I have been tempted (but never attempted) to bush a few of the finer examples of 20b Lachenals that have come through my hands. It is necessary to ream out the button holes to accomodate the felt bushing. Dave Elliott's book describes the general procedure for bushing an instrument. Lachenal did make even some lower end instruments with outstanding reeds. Great sound, but noisy! I just added bushing to a 30b metal ended Lachenal. It really quieted everything down and made it feel tighter and faster. Another approach might be to count the noise as part of the "discreet charm" of an authentic Lachenal akin to the percusive accompaniment of the hand to banjo head noise of old-time clawhammer banjo. Greg

Just a reminder that Brian Peters will be stopping in Cincinnati as part of his North American tour. Brian will be part of a British Folk Festival house concert Wednesday evening April 25th along with Tana. Thursday evening, April 26th Brian will give two concertina workshops featuring anglo concertina played in the english style. Beginners workshop at 6:15 and intermediates at 8pm. I still have some instruments available for beginners. (What a great opportunity to receive your introduction to the anglo concertina by attending a Brian Peter's workshop!) Or this might be a good occasion for curious ec players to get their anglo fingers wet. I've included workshop contact information in this attachment: Hope we get to see some cnetters in attendence. Greg

Dirge, If we can't save you from yourself, don't say we didn't try! Before making a bid you'd better check with Malcolm Clapp and make sure his bench is cleared for the next couple of months! Malcolm does charge by the month doesn't he? And I believe he still has the reed tongues from another early Lachenal experiment with aluminium. Just the tongues that is! Greg

I've bought a couple of concertinas that came from an arid environment. Never a good idea. This one looks a bit dry to me. The cracked end exteriors, coupled with what might be a shrunken reed pan (treble pan, possible gaps on edges) should give one some pause. Throw in the possibility of unstable aluminium and you had best see this box in person and/or be paying quite a bit less than the buy it now price. Just one person who does restorations opinion of course. I received some bellows pics. They look in decent shape. Yes, the early badging, fretwork and probable lightness are intriguing. Greg editted for my old friend "Cardinal Spelling".

My 5 day workshop with Geroid left me with a similar impression as Daniel's and Bruce's: Cross row, Paddy Murphy influenced. I like the way Geroid uses fast and crisp cut notes. I felt he was more inclined to use a rh push C and pull D than Noel. I have really enjoyed his "Traditional Music from Clare and Beyond" CD. Greg

Stephen, Thank you for the tip. We all need to be more savvy and vigilant these days. Perhaps those at Ebay need to watch more Monty Python: "Scam, scam, scam, scam...." Greg

The "fraudulent use and copy of another ebay listing report" I tried to use had 3 parts: !. Current listing in question 2. Original listing 3. Comments When I could not provide the original listing information it would not accept my submission. I ended up copying the infernal form and emailing it to Ebay along with my concerns. No reply. A shame! I hope no one gets burned with this one. Greg

Unconscionable!! If it was three years ago and I was just starting out in the world of concertinas again I could be prey to a scam like this. I'm thankful that Ebay has opened up the world marketplace but you'd think they could take a little time out from counting their money to put a "working" basic policing system into place. Paul, if you would care to post or send me the original auction link I will take time out from tuning concertinas to try and navigate their dispute reporting system yet again. (Unless one has the original listing the fraud reporting format will not accept a complaint.) Greg