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Greg Jowaisas

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Everything posted by Greg Jowaisas

  1. I make a deep fold bellows and over the years have had stamping dies made for Jeffries and Lachenal bellows. Jowaisas bellows and stamp; Dipper papers However the stamping on the original bellows was so nice, it was deep and crisp, so the customer and I decided to try and save the original bellows. Someone had previously tried to patch the gussets and the valleys were in sad condition as well.
  2. I've made over 50 bellows and patched and rehabilitated several hundred more. (before) (after repairs, dyeing and treatment of end and top runs) But I received a Jeffries last year that looked like it would need a completely new bellows.
  3. Here is a link to another Transfiguration page which has pictures and a description of the campus: http://www.ctsisters.org/index.php/be-our-guest/202-transfiguration-spirituality-center.html
  4. Most of us are engaged in that "long winter of practice" as Noel calls it, but it is not too early to start thinking about concertina camp this summer. Noel Hill Midwest will be returning to the Cincinnati area at a new site run by the Episcopal sisters: Transfiguration Spirituality Center in the northern suburb of Glendale OH. There are 22 acres of manicured grounds, air conditioned private rooms with private baths and a chef to prepare 3 meals a day for participants. Noel Hill Midwest camp will run from Sunday July 30th to Friday noon August 4th. Contact Linda Mann at: noelhillclass@gmail.com to reserve your spot. Glendale and adjacent Wyoming, OH are beautiful, old neighborhoods in northern Cincinnati with tree lined streets and not far from the hustle and bustle of the Tri-County Mall shopping area. About 40 minutes north of the Cincinnati/Northern KY airport. (Southwest Airlines is supposed to initiate service to Cincinnati July 1st 2017 which may facilitate flight connections.) The Midwest camp is generally populated by friendly folks who go out of their way to make newbies feel at home. We can usually coordinate Sunday rides from the airport to save on shuttle fees. Noel brings his usual intensity to camp but a general feeling of comradery helps alleviate the "shared suffering" as we try and keep up with Noel's instruction. There is a vibrant Irish Trad community in the Cincinnati area and week highlights usually include an evening session and often a concert by the Master. A great learning experience for all levels of players and we are excited to have a new, accommodating venue this year..
  5. One other idea. I was given a concertina to tweak from a performer. I was unimpressed with the instrument's sound, perhaps disappointed is a better word. when I opened the instrument up I found thin, acoustic foam sandwiched between the button pan (sound board) and the reed pan!! Once removed the instrument had a sound which impressed. I asked the performer about the baffling and he said it was in consideration of his performing partner who could not stand the sound of the concertina! I skipped the obvious comment of how it might be time to find another partner and made sure I put the dampening foam back in its original place. So, it might be worth experimenting using a very thin dampening material in individual chambers which are causing you volume problems....
  6. Don, Using a thicker (fluffier?) valve opposite the reed you wish to quiet usually works. You may need to retune the reed a few cents. Thicker (softer?) pads with a larger diameter can also "tone down" a loud note. Slightly adjusting pad lift by adding key disc felt washers or adjusting the action arm can also influence volume. There is also the possibility of experimenting with partial baffles (say only above the lower notes) or trying different baffling materials such as gauze, clothe, leather etc. As Patrick mentioned the reed set too can make a difference in volume but with the long, low reeds there is not much critical distance in a narrow set between optimum response and a note stalling (not sounding immediately) It may be a combination of the above that gives you what you want. The concertina can be a demanding mistress! And each one comes with their own set of demands and peculiarities. Getting things just right can take some time and experimentation. Good luck! Greg
  7. In case someone missed this: http://www.concertina.net/forums/index.php?showtopic=19263 Happy Holidays! BTW after a very busy 2016 the repair queue is open in the New Year. Best, Greg
  8. Close ups of the pyramid: The little "Salvationst" angel playing her concertina C/G and Bb/F anglos + an english or two 20b, 22b, 30b and a rivet steel reed on top of a regular tuned semi-miniature 30b and a Wheatstone pinhole Aeola Aeolas, Holmwood, 60b New Model and a few duets New models. Aeola, and two Jeffries duets ($350 Mayfair at the extreme left) (Yes, that is a 48b Jeffries Crane!) Somehow I missed a closeup of the 3rd row down. My apologies to the 35b Wheatstone Crane and 39b Lachenal McCann duet
  9. Lovely little 35 button Wheatstone Crane. Serial # 33149 made in 1934. Wheatstone hook action, nice, pre-war reeds, 5-fold and tight bellows. New pads, newer valves. Carefully tuned to standard. This is a great way to get acquainted with the Crane system or a nice playing "travel instrument" for the aficionado who wishes to leave their bigger, expensive instrument at home while on vacation. Comes with a hard case. $750 + shipping. PM me or email: gjowaisas (type "at" symbol) fioptics.com A few more cranes to follow. Best, Greg
  10. Normal T/T. #24355 Tight 5-fold bellows. Plays well with a nicely balanced sound. Not timid but not overly loud. Would be very good for accompaniment or studio work.
  11. Extended, extended treble. 60b and the "usual" unusually intriguing sound of a Wheatstone pinhole Aeola. Presently tuned to continental pitch (about 16 cents low of standard) I have not done any refurbishment yet and it plays nicely as is. Nice condition with the exception of some light wear around the buttons. 4 fold bellows are in good shape and reasonably tight. I'm enjoying singing with the instrument and not in a hurry to sell but would certainly consider the right offer. Greg
  12. A little mystery and intrigue But inquiries to specifics (PM me) welcome and public identification of individual instruments will be forthcoming. Greg
  13. Shortage of available site memory prevented me from completing the holiday concertina pyramid as originally conceived. Here is another shot at it with a different format. Some close ups further down in the postings. All the instruments are available, some at attractive prices. I can send a list or provide specific details. Enjoy! and have safe, music filled Happy Holidays with friends and family. Best, Greg PS. No concertinas were harmed in the construction of this pyramid!
  14. I'd check your replacement pads. If they are thicker than the previous ones and the action was not adjusted accordingly there is a chance there is not enough pad clearance. Although uncommon I've had occasions in repair when a too close pad and a weak spring have resulted in a note(s) stopping on the draw. (As the pad and/or arm are drawn down and close off the pad hole) Let us know what is happening as you make adjustments and try and figure this out. Greg
  15. Hi Mike, I did a restoration about 3 years ago on a rosewood Lachenal english that had the holes and outline of hand bars in its finish. Inspection of the interior showed the remnants of the hand bar mounting were of a professional nature, work which I'd assume was done at the factory. (If memory serves there might have been a support dowel normally found on an anglo beneath the hand bar... . For sure there was a deliberate space incorperated in the english action pan for the support dowel and a countersunk screw hole in the underside of the button pan for the long connecting screw.) Somewhere I might have a few pictures.... Greg
  16. Yes, sad news indeed. David was always helpful and a gentleman in our email correspondences and not afraid to go the extra mile or kilometer to make a parts order right. R.I.P. Greg.
  17. Try holding the reed assembly tightly between the the index finger and the thumb (approximating the dovetail slot. Blow into the reed covering the top of the index and thumb with the lips. The volume is startling. I've surprised many a young (and old) audience with this demonstration. My take is the reed movement is responsible for the vibration (cutting the air stream or what have you) but much of the resonance and amplification of sound are a result of the interaction of the surrounding materials. (In the above instance the cupped hand provides a resonating chamber) Reflection and absorption of the sound by different materials can influence the sound quality and volume of an instrument. I was able to change a fret work end and action from one Aeola to another with both instruments within a year of each other's manufacture. The Aeola with significantly more cut out area in the fret work was notably louder. When this end with the open fret work was put on the more "timid" Aeola it suddenly had a louder, more aggressive sound. Likewise the originally louder Aeola grew more subdued with the restricted fret work. It was interesting to note that while the loud Aeola with the more open fret work had a brighter more aggressive sound suited for competition with other instruments in a session, the more restrained Aeola with the restricted fret work had a very balanced refined tone albeit with less volume. Over the years I've had hours and hours of discussion with maker Wally Carroll concerning the where and why concerning a concertina's sound. Wally can add his own comments but I think we agree that the reed itself is only a part of the sound equation. (And perhaps a smaller part than we suspect ) The sound and overtones brass reeds vs. steel reeds generate certainly seem to have differences but as anyone who has substituted a steel reed assembly for a broken brass reed may tell you, soundwise, often it is hard to distinguish the steel reed among the brass ones. (Response is a different matter) The mystery continues.... Greg
  18. 5th pic seems to show button bushings. The verdigre on the reed frames is usually not a big problem.
  19. I have a few anglos for sale. One is a very nice Jeffries. Two nice metal end Lachenals (the one with the more open fret work might be a bit louder) I've done some work on the rosewood 28b to make it quicker. The metal end late 1960s Wheatstone is the Bb. It is toward the end of Wheatstone's run and is not an example of their best work but it is solid, plays decently, the bellows are good and the price is right. Personal message me or email me :gjowaisas(type "at" symbol)fioptics.com for more details and pics. Donation to cnet if the sale is made through this contact. Best, Greg
  20. Yes, scammers are still using the original eBay pictures. Do not pay any attention to those listings and report them to eBay. I still have this instrument which cleaned up rather well. It has a strong sound and an action that plays like butter ( ) It is just about ready for sale. I'll post some "real" pictures of the refurbished "real" instrument next week. Greg
  21. I'm fairly sure nixc66 has a Tidder concertina. The Tidders I've seen have abundant gusset material and usually exhibit a great amount of wear and scuffing on the end and top runs which I assume is from use of a less abrasion resistant material than goat such as sheepskin. (The 4 Tidders I've had for refurbishment appear to have sheepskin bellows). I make my bellows as I was taught by Wally Carroll with sheepskin gussets and valleys and goat end and top runs. A Jowaisas 6- fold replacement bellows usually costs $600-$650 depending on the papers. Stamped gold tooling is extra. Greg
  22. I have a nice example of a Wheatstone Model 21 for sale circa 1927. 5-fold bellows. A nice, quick player with a strong sound. In tune and properly refurbished. I also have a few other nice english concertinas for sale. Donations to be made on sales through this site. You can send me a personal message (click on my name in the header box) or email me at gjowaisas (type "at" symbol) fioptics.com Best, Greg
  23. Clicking on the little "daisy wheel" just outside of the search box takes you to the advanced search. I've had much better results there than just typing into the search box. Greg
  24. Although not the most transparent search device, the search feature on concertina.net will yeild results if you use "advanced search" and are persistent. Here are some links that will help explain differences of concertina vs. accordion reeds: http://www.concertina.net/forums/index.php?showtopic=14661&hl=%2Bdifference+%2Bconcertina+%2Breed+%2Bvs+%2Baccordion+%2Breed&do=findComment&comment=139696 http://www.concertina.net/forums/index.php?showtopic=9797&hl=%2Bdifference+%2Bconcertina+%2Breed+%2Bvs+%2Baccordion+%2Breed&do=findComment&comment=98539 http://www.concertina.net/forums/index.php?showtopic=8895&hl=%2Bdifference+%2Bconcertina+%2Breed+%2Bvs+%2Baccordion+%2Breed&do=findComment&comment=87949 http://www.concertina.net/forums/index.php?showtopic=6597&hl=%2Bdifference+%2Bconcertina+%2Breed+%2Bvs+%2Baccordion+%2Breed&do=findComment&comment=62008 This should keep you busy for awhile. You may want to try and find some of Dana Johnson's posts. He is the maker of Kensington Concertinas and has given some very clear answers on the differences between traditional concertina and accordion reeds. Greg
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