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About Sprunghub

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  1. Excellent supplier of Chamois.....if you tell them it is for concertina work they seem to know what to select from their range. https://www.russels.com/
  2. I managed to replicate the 'finish' on my 1923 Lachenal using a generic French polish.....but.....when stripped (entirely down to bare wood ) it became apparent that the original FP included a pigment/stain. As I only needed to re-finish one end the difference is obvious. Personally, I think the FP'd "natural" mahogany is very attractive but it is not original, or matched on mine. I used late 1800's Mahogany for the infill work which is a perfect match ( from a re-claimed, machined down Parquet tile ) If required - FP plus appropriate pigment (or pre-pigmented FP ) would appear to be 'a' way to go. Images are in current listing as below. (Ignore the matt black Anglo image)
  3. As a relative beginner - on Duet rather than Anglo, but similar principals applying - I too use the foam insulation and 'slacker' straps. Finger length/joint's length makes a difference. As someone who could not play a barre chord if my life depended on it ( on the guitar ) because of hand geometry, I find I need to be stood 'off' the rest to get any articulation at the joints. The trouble is, once I find I am too far off, I lose control of where my hands are on the slack straps, especially for those 'fly-away' notes on the 1st/5th row. I also find that, if not using the foam, a pair of Altura 'classic' cycle gloves works well !! The loose(r) strap grips to the crocheted back and the suede padding on the palm holds to the handle when needed. They also keep the hands warm for playing when the hands/fingers are cold!
  4. 35174, 25th April (built) / 1st May (shipped?) 1939, 64 keys....from the ledgers. It was a busy week for 'buttons' as the preceding instrument had 81 and the next two 56. All denoted 'E' for Ebony/ised, but nothing to indicate style. Presumably the 81 wasn't an English!
  5. Agreed, entirely.....but if you use a selling medium, you presumably do so with a reasonable understanding of the fee's, and to expect more return, it questions what the expected selling price/reserve would have been? Clearly higher than that achieved. The buyer would have been spending over £4k, irrespective of what the vendor would accrue after their costs. It still feels a high price to pay ( if not to receive ! ) especially as it didn't sell.
  6. I very nearly put a bid on the listing for the sake of the case....I am sort of glad I didn't as it would have been too big! A nice one though irrespective of the end(s) it included and very good value. I did wonder how many 'clicked' through the photo's past those of the box!
  7. Would that - after buyers premium and VAT on the premium - not have been a reasonable price to attain ? Particularly as it is ( is it not ?? ) after all a later Wheatstone, albeit with Jeffries 'pattern' Duet fingering, so not a Jeffries per se, with it's added kudos. Re the Linota, which looked very tidy, a 'silent' and seized Linota basket-case with mismatched parts (metal and bone buttons at least) sold for nearly £4k after costs at a North Wales auction the other day. I attended a local 'country auction' this morning re. a 30k Rosewood Lachenal, basic Lachenal staple mechanism, in entirely 'silent', somewhat rusty and latterly 'desiccated' condition, no one else in the room seemed very interested but 'lively bidding' on the phone and Net took it to £620 after costs before it stalled, which seemed very expensive for a 'project'. Are expectations exaggerated ? ....and if they are, are the created by on-line/distance/blind bidding on occasion.
  8. Hainsworth "Doeskin", 100% Merino Wool material as used in Guards tunics is a traditional option, I think. Being inexpert, I sourced some of the piano material and real wool baize, but found it too thick to 'roll' into a cord to thread the buttons onto, or, to work properly once on the lever. I have found the Doeskin just right for all bushing options.
  9. I am hoping to sell my little Crane Triumph 35k. It has had stabilising work carried out on both ends - to reinforce the fretwork on the right hand side and to insert a new section on the left and a new hand support fashioned. The 'new' section is not easy to see,......it is basically 3/4's of an inch around and inc. of the handle. Late 1800's mahogany was used for the visible work, fined down laminate inside, so it blends well but has not been stained. The fretwork is finer than many 35k Lachenal's, hence it's inherent weakness prior to repair, but the work has been done with care and sensitivity as per the images. The bellows are good. It has had new pads, sampers, grommets and valves. It has been tuned to concert pitch. It is a very good player with excellent ( I think ) tone for it's size. The mechanism plays remarkably quietly, ie. no clattering etc. For folk tune/song playing it has enough buttons to do itself justice. I am happy to post Worldwide. I can put together a sound file for anyone interested - enquire by PM. It was a labour of love refurbishing the instrument, but it led me to a larger (55k) one and although I hoped to keep this one as well, i recently dropped on an unexpected Jeffries that I could not resist for my wife. Speaking as a previous non player who tried the English, Anglo and Mccann Duet, the Crane is - I found - the most straightforward & intuitive style to be able to quickly play tunes with accompaniment. It is supported by the readily accessible Salvation Army tutors. I will post it carefully packed in a 'Bally', Dr's Case/Bag, which is what it currently lives in at home. I am not sure of value - before asking Ebay to find one for me, I thought I would offer it here with a 'guide' of £650 and be prepared to be beaten down unless crushed in an unexpected rush! A contribution to the Forum will be made if sale concluded.
  10. Eddy came to the recent Beginners weekend run by WCCP and demo'd the printers in action- making a bellows - the component parts and the instrument being played via a lunchtime performance in the hands of a lady 'EC' player. I think (know!!) a few respected Board members were present, so someone may comment as to tone/playability. As I understand it the bellows on the Demo model which was played were 'proper'/traditional bellows and the reeds are accordion type of top quality. The lever to pads are as per comments above 'ball and cup', so fully articulated. He is a very personable chap and I am sure he would welcome contact via his various on-line options. He's an ace accordion player too. Duo's with Will Pound on the Folk circuit.
  11. Neck strap for playing standing ?
  12. A timely question Dave.....I am a non-music/dot reader who has to annotate the notes atop the stave and try to read keep up as I play normally. I am - as previously expressed, very taken with your posts. I am, the more I annotate, learning to read the dots, but it's not coming naturally or very fast when playing through. I try to learn from the annotated notes then play by ear/memory. I sat last evening and worked my way through your Xmas Tune book via the tunes I knew/recognised which was most of them. Reading it from the page via the Lap top, I ended up either having to stop and page down or play by ear the parts that were 'off the bottom of the page' ( I know I could have printed it but the Boss say's the ink is low! ) The animated page as per this post eliminates that need. I know a growing number of 'Session night' players who use a Notebook to act as an aide memoir whilst singing and / or playing and I think the rolling presentation is a useful aide for us latecomers. I guess my only 'add' to a wish list would be for a 'suggested chord' pattern above the music.....in a contrast colour......but that may be too much of an ask. I know enough to work through and work them out now.....but not in my head. Personally the landscape is preferred....
  13. Many thanks Geoff. I thought that the most likely explanation. It's a shame he didn't date the work as so many do.
  14. Hi Alex. To my inexperienced eye they look un-fettled. If any work has been done it would appear to be very negligible. Over the years there have been some valves replaced and some very crude work done on bushing etc, probably in the 1940's/50/60's judging by materials used, ie carvings of lino and electrical insulation ! none of which belong in a concertina, but it doesn't look as if the reeds have been touched to any degree. As per your first, having now sat with Adrian's notation, it transposes fairly well from the C/G buttons across most notes.
  15. Hi Alex - tuning was assessed using an App (TE Tuner) reg'd at 444hz, when pretty much all the buttons showed as being "in" tune, +/- a few cents, across the board? At 460hz it does indicate Ab/Eb, but 40+ cents out? The reeds are marked as A/E rather than Ab/Eb etc? whereas the D#'s etc - where appropriate - are marked as such, as opposed to Eb, when corresponding to the tuner....if that means anything.
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