Greg Jowaisas

I'd go farther... and recommend lots of shoulder, chest and upper back for anglo. Greg

Dave, I've been asking similar questions concerning Crabb and Jeffries reeds. I have a lovely 1890 John Crabb Bb/F (soon to be for sale). It is the image of a Jeffries from the same period. But its sound, while certainly robust and attractive, is nothing like the gurgling and chirps of a Jeffries. I have put a few of the Crabb's reeds in a Jeffries and they retained their original sound. Nice, but not with a Jeffries nuance. The Crabb shoes are just as thick as the Jeffries shoes. The only obvious difference i have been able to discern is that the Jeffries shoes have a markedly more radical vent on the front and back of the shoe as viewed from the bottom. So I am wondering if this difference exists between all the old Crabbs and Jeffries? Or is my Crabb the exception? All the "Jeffries sounding" Jeffries I have examined have reed shoes with lots of vent between the top and bottom of the shoe. Comments and ideas appreciated. Greg

Geoff, I'm counting 30b on Gerdy's. I believe a Jeffries 28b box would leave the accidental rows short a button as per these photos. (Photos compliments of Chris algar) Left side Right side Greg

Mike, Give us a notion of where you live in the world and we can make our suggestions as practical as possible. (Whoops! I went back and read your initial posting...East midlands it is! In which case I would second the suggestion to be in touch with Chris Algar and hopefully schedule a visit when money and experience are on line. The suggestion of making the festival rounds is also excellent. You will run into many players and approaches and get to sample lots of different instruments. All of which will prepare you to make an educated decision.) Saving money while being patient for the "right" box is very good advice. In the meantime the Rochelle will serve you well as you practice in preparation for when your next concertina appears. Greg

How much wool would a wool sheep shed in a woodshed shorn by wood sheep? Saying that quickly 10xs will curl anyone's valves! Part of the tuning and setting up process in reconditioning an instrument is checking all the valves for noiseless closure and response. Sometimes otherwise good looking valves "act naughty". Rehabilitation is really not practical and at $.50 apiece, replacement isn't cost prohibitive. If you are a careful, deliberate person you can change an annoying popping or gurgling valve. I'd recommend reading the Dave Elliott repair manual. Avoid using PVA (white glue) that might "bring wood" with it the next valve change. Evaporated shellac a la The Button Box method is my fixative of choice. There are threads in the repair forum that mention success with arabic gum as a gentle valve glue. http://www.concertina.net/forums/index.php?showtopic=506 There is a possibility that the pitch of the valve affected reed may change. http://www.concertina.net/forums/index.php...=1706&st=15 It may not be enough to bother you too much. But wholesale, do it yourself changing of all the valves is not recommended unless you are prepared for a retuning. And that is a job for an experienced professional. Greg

I think Mutt's detective work is correct: the serial # probably is 36460. The 3E designation in the ledgers is consistant with the instrument's appearance and description. My first concertina was a similar 1964 Wheatstone. Aluminum reed shoes, shiny ends. It was not a world beater but the reeds were responsive and the construction was solid. If the ebay instrument was in tune and reasonably sound I'd say the buy it now price could be good for the buyer. The seller didn't have a great deal of feedback but what there was seemed appropriate. (Although I seem to remember a forum member complaining a few years back of ebay problems with bogus spinning wheels!)The instrument was listed previously with a buy it now of $1800. The price reduction could be a function of the family illness mentioned in another listing (the sax) and a need to raise cash. I did not notice any other red flags. An email request for a phone chat may have been the way to help resolve doubts. Greg

Henrik, Peter, How does the Edirol R-09 perform as a learning device in the field? Does it have a slow down and pich adjustment feature? Can it play loops of designated segments? Practical battery life? Your comments appreciated. Greg

Thank you for the pictures, Wakasaobama san, May you and your concertinas make beautiful music together for many years. Greg

Once you depart from in row playing having a different fingering system could make a lot of sense, especially getting the F# under a stronger finger. I think Wally Carroll has also experimented and become fairly facile with having an F# replace the pulled F in the adjacent C row. The problem comes when you pick up someone else's concertina.... So, at least right now, while an individual layout change makes sense, you are swimming upstream in regards to "current" concertina convention. That is not to say you shouldn't lead the revolution! Greg

Dear Wakasaobama san, Congratulations!! It makes me feel like there is some cosmic justice at work when an afficionado like yourself finds a great instrument at a great price! Would it be possible for you to post a photo of the underside of of one of the Ball & Beavon reed shoes? And perhaps a similar photo from one of your wood ended Jeffries reed shoes too? I'm looking to see if the venting that I have come to associate with Jeffries instruments is there. Thank you, and again congratulations on your good fortune. Greg

Congratulations Terra! We have a young person at our local Irish Music School who received a Rochelle for Christmas. He is progessing "brilliantly". Your Rochelle will give you a good start along with much instrument for the money. Enjoy! Greg

Stephen, Would the primary Jones vs. Nickolds indication be the riveted vs. "G" hook and lever? Greg

Carolin tunes on the EC rock! Greg

Wally Carroll uses a redwood burl on some of his instruments. Take a look at #9 (to me and other Boston baseball fans, the Ted Williams model!) in his photo gallery. http://carrollconcertinas.com/photogallery/photos.html And The Conncertina Connection has a picture of one of their amboyna instruments here: http://www.concertinaconnection.com/wakker%20english.htm Greg

Chris, The amboyna Lachenal and amboyna case that I have has a much "busier" figure to it. And while I think of amboyna as having a reddish hue your example is pretty intense. The Concertina Connection seems quite fond of amboyna and is currently making instruments with an amboyna option. Perhaps an email to Wim is in order? Greg

I'd like to add that John and Doug have very valid points in pointing out proper session decorum and the self interest of those participating in protecting the session's integrity. (Typical session thoughts: "I came here to play Irish Traditional Music, not experiment; Do your practicing at home; You are distracting me when you don't know the tune." John and Doug were addressing their comments to a relative beginner who is eager to participate. And their advice to learn the music and the tunes specific to a session can't be overstated for importance. ("If you want to improvise, the Jazz session is on Tuesdays.") So I'll echo their strong advice to approach a session with respect for an already established musical forum. But...before another EC player is strictly relegated to a role as yet an additional instrument duplicating the melody, I'd like to point out that there may be another way to usefully and tastefully participate. And it is already part of the tradition established by one of the ancient instruments. Harpist have a very appropriate way of backing up tunes. Sometimes it is percussive chords, sometimes arpeggios or chords connected by lead notes. The playing of Michael Rooney comes to mind behind concertina players Tim Collins and Micheal O Raghallaigh. So couldn't an experienced EC player contribute by imitating some of the harp's backup? The percussive chording may or may not work for the EC, but wouldn't the rolling arpeggios and chords with leading notes play to the instrument's strengths? Greg

So...given the high overtone damping properties of mahogany. what kind of sound could we expect from this instrument? http://cgi.ebay.com/C-Jeffries-31-key-Angl...1QQcmdZViewItem Perhaps there are those who have owned or played Jeffries with mahogany action pans who might like to comment on possible sound differences from the maple/sycamore clad instruments? Greg

Sometimes the notes you don't play are more important than the notes you do play. What may work for you, Gary, is to find out what key the tune is in and play arpeggios of the appropriate chords. Depending on the kind of music, appropriate chords can be problematical. Irish Traditional Music often uses modes that are neither major nor minor and sometimes the modes shift in the parts of the same tune, so that the guitarist's conventional "3 chord trick" might not always fit very well. And sometimes even the "right" chords only hinders a bubbling, sparkling melody. Jazz has a number of theories and conventions for chords and accompaniment. Taping your favorite session tunes and practicing and trying out different chords and accompaniment at home to the tape can get you ready for prime time live sessions. With some care and sensitivity you, with the feedback of your session mates will arrive at a way to participate and contribute to the evening's music. It is an adventure. Good luck. Greg

Here is a picture of a mini Wheatstone's from the 1950s with "bent over action". My understanding is that Wheatstone began using this type around 1934. My Edeo/anglo #33301 has this type of action. I'm sure exceptions exist but I have the impression that most models after 33301 (or perhaps slightly before?) have the bent over action. How about a tally from cnet members with Wheatstone instruments from #32000 on? I'll add that my experience with half a dozen Wheatstones with this kind of action has found that it is reasonably smooth and I have not experienced or heard about issues of wear as Dave Elliott has noted with the Edeophones' Lachenal hook and lever. Early Wheatstones made by Lachenal had a hook and lever action. I'll let the historians wade in on this one but I think it was during Rock Chidley's tenure that Wheatstone went to a riveted action. Perhaps around 1870? Thereafter Wheatstone was noted for their smooth riveted action until the 1930s change to the bent over mechanism. I believe many would recommend or prefer rivet action over the H & L or bent over kind but I've been cautioned by seasoned hands and accept their advice of never rejecting a good sounding and playing box over a technical question of the action mechanism. Regards, Greg

Wow! That is a stronger recommendation than I remember. Thanx, Bill. We need to have some Aeola proponants wade in and start singing the praises of their instruments. Greg

I believe Wim Wakker of the Concertina Connection also has a high opinion of the Edeophone. I'll drop him a line and ask him to comment. Btw I have a tenor treble Edeo that was fitted with the Concertina Connection's replacement action. Plays like a dream!! And the sound is qualitatively different than my Wheatstone's. I didn't say "better" just different. Greg

Hello Bremner, If you don't already have a copy it is time to get Dave Elliott's Concertina Maintanance Manual. Dave will have a checklist of possible problems fitting your instrument's symptoms. If the breathiness happened quite suddenly and without the accompanying drone note of a slipped pad I can imagine a couple of scenarios: A fairly easy repair: the corner blocks supporting the reed pan gave way (not uncommon in older instruments) and the reed pan no longer makes a tight seal with the action board. Worse: the dryer climate was indeed a shock and an action board cracked or an existing hairline crack grew larger with the humidity difference. All the above can be fixed. While you are waiting for the Elliott book to arrive and summoning your resolve to become more intimately acquainted with the inside workings of your concertina, you may want to start a humidification program for your instrument. Think England, which is rarely dry except for its humor. Good luck, and let us know how things turn out. Greg

Michael, Sara Graves has a very nice album of music played on an Aeola and Edeophone. She was nice enough to respond to an inquiry and list which instrument she used on each track. I will try and get that information. My limited experience with Aeolas (mine, that reminds me of the Martyn Bradley sound on "Time Can't Stand Still") and two treble and a t/t Edeophone is that the Edeophone has a sweeter, juicier sound. I'd characterize the general "Wheatstone" sound as drier with more cut. (It is time to get out the book of wine tasting adjetives!) But as Danny has pointed out. there is so much individual variation among models and individual concertinas that you practically need specific instruments to make valid comparisons. If you are in a geographic position to make a pilgrimage to Chris Algar's (Barleycorn Concertinas) garden shed it might well be worth it. A friend was able to visit Chris and spent several hours comparing a number of Aeolas and Edeophones. My friend's wife was with him. In the end she had a lot of input: "Take that Edeophone, dear. The octagonal ones are too loud!" Individual wife experiences may vary. Good luck! Greg

I find the strong reactions to Noel Hill and his playing very interesting. I remember hearing the Hill/Linnane albulm for the first time 15 years ago. I was coming from a background of American old-time and folk music with some exposure to english concertina. I thought, "What planet is this guy from!!" Over the years this impression has only grown to the realization that he is a player and artist with enough "gravity" to be practically a force of nature. You may like him or not, agree with him or not, but Noel is certainly impossible to ignore. He has made significant contributions as a teacher, player, interpreter, innovator and promoter of Traditional Irish Music. I suppose he can be forgiven some excess in vibrato and piping ornaments. While acknowledging Noel's presence, it is important not to overlook the other "stars" in the TIM fermament. There are indeed some other fine older and younger concertina players and interpreters that are wonderful to listen to, learn from and imitate. Greg

Robbie, This thread might help: http://www.concertina.net/forums/index.php?showtopic=1906 Good luck, Greg