malcolm clapp

I assume, David, that you are referring to the high end of the G row. I have struck quite a few C/G anglos of various makes that have an F natural instead of a B on the push in this chamber. Some would appear to be the original factory reed, while others have clearly been after-sale (and comparatively recent) replacements, so one must assume that the failure of the high B was not an uncommon headache for players and makers alike over many long years. This may, or may not, be relevant to the OP's problematic reed responses, but could be a contributing factor. The dimensions of the chamber do not always suit the difference in reed size and air flow to cater for two reeds pitched this far from one another, being B push and F# pull. Such a difference is virtually imperceptible with lower pitched reed pairings, but seemingly not so at the higher end of the range. In theory, F push and F# pull would be a more balanced combination. While I'm not convinced that F natural would be much more use than the B6 to the majority of players, at least it might be better than having an annoyingly silent reed as David is experiencing. Of course, the limitation of fitting a slightly longer reed may well be the size of the chamber, and the cost of a replacement reed may well be unjustified, but could be worth considering.

Possibly not what you are seeking, Chris, as not specifically Lachenal parts, but the London dealer J. J. Vickers was offering a brief list of spares in their catalogue from the mid 1930s, (bottom of page 4). http://www.concertina.com/pricelists/dealers/Vickers-Pricelist-c1935.pdf Probably just a coincidence, but that particular catalogue would date from around the time that Lachenals closed....

I seem to remember that Marcus anglos used a similar lever set up, though it has been a while since I last saw the action mechanism of one of these, so I may be mistaken.

I was once told at a folk club by an audience member that the more he had to drink the better my concertina playing sounded.... Rightly or wrongly, I shouted him another beer.

Perhaps a bit devious, but maybe a fairly vaguely worded concertina wanted ad in a local (Cambridge?) area newspaper might elicit a response from some ratbag who may have pinched it, or acquired it mysteriously. A customer of mine some years back recovered his stolen Linota by similar means. The asking price was only $100, which he was happy to pay. He reported the recovery to the police, who were somewhat critical of his actions, but at least he got his concertina back.

The height of the handrest is relevant. I used to own a C Jeffries 38 key and struggled with the reach compared with my 30 key instruments. So I fitted higher handrests and found it solved the problem for me. Just a couple of mms made a big difference in (accurately) reaching the extremes. The measurements of my 30 key anglos, FWIW Jeffries Bros 73mm, handrest height 23mm Morse Ceili 75mm, handrest height 18mm (both handrests appear to be original).

Makes you wonder how he himself (and his family) might have pronounced his surname. A short MAC and a long CANN, as we concertina-aware people generally refer to him, or two equal length syllables, almost rhyming with BRACKEN for want of a better example coming to mind. (Tempted to delete this post before the Lachenal pronunciation argument starts...)

Haven't yet seen a dietitian. A bit hard to find in my neck of the woods. Google has plenty of suggestions, but probably a lot of misinformation too....

Not being one to cause unnecessary alarm, and with no professional medical knowledge, but does anyone who plays a metal ended concertina and finger/hand problem (myself included) considered the possibility of a nickel allergy? Apparently, an estimated 10% of the (human) population are susceptible to such an allergy, for which there is no cure. Avoiding objects and foods containing nickel are recommended, according to Dr Google. The early signs are not particularly troublesome and certainly not life-threatening, but the long term effect is failure of the body's auto-immune system, which is a bit more serious. Four years ago, I developed necrotising fasciitis in my left leg, which led to sepsis. Three months in hospital (2 months in ICU in an induced coma) was not a happy experience as you can imagine. Just recently, after a COVID scare and some investigation as to my auto-immune status (poor!), I was asked about exposure to nickel, sent to a dermatologist, and guess what? I'm one of the 10%. It was only then that the penny dropped and the 40 odd years of playing a metal ended (nickel plated) Jeffries on a regular basis might be the cause of my woes. Not much that can be done at my advanced years apart for some dietary changes to help boost my immunity, and avoidance of potential causes of infection, so just have to take a bit of extra care with tools, sharp instruments (no pun intended), insect bites, minor skin abrasions and especially COVID I guess. I doubt if I have anything to loose by continuing to play my Jeffries as the damage to my AIS is already done, and there is no absolute proof that the concertina is to blame, but is the strongest link that the medicos can come up with. Food for thought....

Great video and series. I wish I had just a small percentage of his workshop equipment....and his patience. If I had any criticism, it would be the proximity of his cup of tea to the workspace....but then again, he obviously has a very steady hand. 😃

Brings to mind the old song "When it's Night Time in Italy, it's Wednesday Over Here".

Never really thought about it before. Probably all of the above, plus economics; flat ends would presumably be less expensive to produce. And don't forget domed ends, or is that just a sub-set of raised ends?

I doubt that Ebor is a maker's or model name, at least I have never come across it, but all things are possible.... However, it is likely that Ebor refers to the Ebor Musical Museum, once located (strangely!) in the town of Ebor in New South Wales. I vaguely recall that it closed down many years ago; I never went there, and I don't know whether it was a bona fide museum, or just a glorified name for a music shop. Currently on eBay is a Mezon accordion in pretty poor condition with an Ebor Musical Museum sticker, and I have seen a number of other instruments similarly labelled over the years, including a couple of concertinas and a banjo, all in similarly neglected condition. I did ask the seller, just out of curiosity, if he could post a photo of the name inscription, but he did not respond.

How often would you expect to need that troublesome high B? I have seen that high B/F# pairing substituted on many C/G anglos with F/F#, which would be so much easier to make from an F#/F# piano-accordion reed.

Off-topic content (piano accordion advice) removed by request.