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Sprunghub

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About Sprunghub

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  1. Sprunghub

    English Crabb 48 key

    There appear to be three stamps from a retailer/repairer in Bermondsey too ? If you can decipher them they may help you date it's production and tally it with Vickers / Lachenal / Crabb to establish a timeline.
  2. Sprunghub

    English Crabb 48 key

    Is that not a Vickers ink 'stamp' which appears to be much earlier than the more prominent/later Crabb one ? Would that indicate a Lachenal Popular for Vickers originally ?
  3. Sprunghub

    making a 40 button anglo

    I learnt to tune reeds last week, supported by advice from the Forum. I found I picked it up quite quickly - it got easier after '70' goes! As per the thread really. https://www.concertina.net/forums/index.php?/topic/20723-tuning-rig-impact-of-chamber-around-reed/
  4. Sprunghub

    considerations re the idea of a Duet concertina

    Wolf ( and everyone else..... ) thanks for the input. May I ask, are 'parallel sixths' the same as "Successive 6ths" as per terminology in the S.A. Tutor, I am presuming they are ? I have that page from the Tutor written up in my own form of ABC ( which is literally ABC ! ). I sat for some time trying to work out Tie 'Em Up yesterday afternoon as per the 'sat on a boat at Sidmouth' version and I am getting somewhere, I think. Having my instrument in the same tuning as what I am hearing through the speaker helps. I think most of that accompaniment sounds as if it is being played in paired 3rd's and 6th's? It is, in truth probably done quite simply, but none the worse as a performance for that.... I have Shoals of Herring under my fingers as a right hand only and octave apart tune on both hands, without the high note flourishes of some EC versions. My only actual 'accompaniment', thus far, which soon runs out of steam as I go 'up' the right side, is to build the notes of the G chord on the left as I play the melody on the right and then 'try' to do the same in a few 'accidental' 3rd's, 6th's etc. That is not the 'accidental' in the musical sense, per se, although some may be, but accidental in the 'by accident' of playing a suitable pair of notes. ++++ Having just re-read through the posts above and found John's link to his videos...and Parsons Farewell in particular, which is a tune I know from Bellowhead, as a case in point, because I have the tune in my head, pretty much note from note, I have been able to pick it up and play a 'simple' right hand version almost immediately on my small box - even in two keys. Knowing what the 'left hand' is doing remains a mystery. As an example, anyone who is familiar with JustinGuitar's tutorials will know the value of a string by string, fret by fret ( button by button ) input as a teaching aide. I appreciate that, that is NOT the purposes of John's videos and would probably not be much (any!!) fun for him to try to produce, but it is a shame no one seems to be.
  5. I thought I would put up a couple of pictures of the tuning rig I knocked up to encourage any other potential newcomers to trying 'tuning' for themselves. It is a proper 'scratch built' job, put together by someone with basic skills.....more Val's old knickers and sticky backed plastic than mortice and tenon and dove-tails, but it worked well. The only 'glitch' was that I put together a prototype 'jig' in 3mm ply, like Alex's alloy one, in about 10 minutes on Sunday morning, which worked really well, then spent the rest of Sunday fabricating one in acrylic which sounded awful, so that went in the bin and I stuck with the ply one. The bellows came from Ebay for £20, and the top and bottom 'plate' are the same ply as the 'desk', all of which was sitting around from a previous repair job. I routed the edges to take the rim of the bellows and then taped with some extra wide insulating tape. The bellows lifts in and out of the table.....the top plate is over-size and sits, on top of the hole which is just a little bigger than the bellows. The 'cording' is to draw the bellows up, the weight of the bottom pate is enough to make it fall at a steady rate and make the reed speak at a consistently throughout the fall. The heatsink sheet and fine solder and diamond file stick were all easy enough to find on-line as was the steel shim which I had from a previous (bike) job. Alex's recommendation of the TonalEnergy Tuner was the real G-dsend to a total Novice like me. Simple, accurate and easy to work to from the phone. It was hard /slow work to start with, but by the time I got to the second half of the right hand side I was finding I had the hang of it to a great extent.
  6. Sprunghub

    considerations re the idea of a Duet concertina

    I have Don, I have it and the Sally Ann one printed off and I do my best with them, but, having self-taught the guitar to an 'improving' standard, I know that working from video tutorials accelerates my learning and I think the number of such options out there for other instruments reflects their value, especially to those of us who struggle with reading music. I can do melody by ear but it's the over-laying ( or under-laying! ) with "other" stuff that remains a bit of a mystery......
  7. Sprunghub

    considerations re the idea of a Duet concertina

    Speaking as a beginner with little or no musical nouse, but who is quite good at 'Monkey see, monkey do', some videos of some basic stuff would be very much appreciated by way of tutorial. There is a dearth of simple beginner / early intermediate Crane stuff out there to view. As much as I worship at the feet of GL, I'll be beggered if I can get the hang of what he does with that oomp pah and a little fiddly diddly dee of tune on the right hand. I don't want to be an impresario player, I just want to back up a bit of singing but there isn't much to learn from. I can play the tunes I can play on one hand or both in Octaves apart and have the basic chords in my hands, but it doesn't sound 'right when I try to integrate it. The only tutorial I can find on-line re. the Crane is via a site where tune is built up on both hands an octave apart, which isn't very inspiring. Lack of buttons on my part doesn't seem to be too big an issue as watching what is out there not many tunes go out of the mid range by necessity.
  8. Left hand side finished, in much quicker time, ....I have discovered ( although I guess it is obvious! ) that because she is consistently 'in tune' with herself at abut 45 cents # inside the box and 65'ish outside, if I bring the reed down fairly 'blind' to about 25 sharp on the table, back in the box she is either right or close enough to fine fettle. I can recommend the Eze-lap Diamond sharpener stick file Fine/600 grit for the task for the inexperienced. Have had great fun annoying the wife who, unlike me has a musical ear by playing octaves across the box out of synch. All done now, very grateful for all the help. I'll post up a pic of my table tomorrow when it is light in case it helps any more beginners out there.
  9. Thanks for the support/advice.....I am getting there. Somewhat slow progress, but on the left hand side ie. 15 buttons, I have all the 'pull' notes done and the bottom row on the push, too. It has strained my brain to be honest, so not much 'fun', but learning rarely is. Soldering has gone ok on the larger reeds. Just glad it is only 35k's.....
  10. Thanks for that Alex, it has been a little bit trial and error, but I ended up with the reed at about '0' and 'green' on the App on the table, I put it back in the Tina to check what was happening and it was now at around E 3 - 25 cents (flat) from the original 45 sharp, in the box. That restored the base line for Geoff's calculus in my number befuddled head and made the numbers smaller and easier to deal with to tweak it back up on the table to mid 20's sharp. Once in the box again it is showing green at +/- 1 or 2 cents through the pull at 440hz. Hopefully I will get a 'knack' for it as I go, or I may be older than the instrument by the time I get to the last one! I didn't need to fettle too much metal on the reed, but most of the lead has gone! Yes Chris, it is in 452 tuning currently. Valves and pads have all been done and she plays well within her own tuning......just not the right tuning😏
  11. Sprunghub

    W J Thomas 2 row

    Certainly on mine, it was aged, dry and brittle but still looked as if it was as akin to old wax as it was 'glue'. I think it was a dense/bulky form of hide glue, not wax, but having seen the inside of an old melodion where the wax had dried out and become aged, dry and brittle, it wasn't that different and could be mistaken for such.
  12. Sprunghub

    W J Thomas 2 row

    As someone who had no idea when first looking at the brown 'gloop' over the little leather grommets which hold the levers to the pads, I wonder whether what Jim is thinking is wax is actually globs of hide glue. I thought it was a form of accordion wax when I first saw it. Similar colour and consistency and no where as neat on my old Crane as the images of modern ones....
  13. Very many thanks for that Alex.....I have the table and bellows all ready to make the reed jig after a good day today, including drawing up the 440hz record of the existing tuning via that App you recommended. Seeing your 'plate' I think a 2-piece option will be the way for me to go for ease of making and function.
  14. HI Alex - hopefully you will see this.....I have some 7mm thick acrylic from another job. I reckon I might be able to replicate that metal jig of yours......it's not a very big section left, but I reckon I can get 7.5 x 7.5 cm out of it which I think will be big enough. I also have plenty of spare 2mm and 3mm, so could create a twin layer option if the routing of the acrylic is too difficult. I "get" the process of pushing the reed forwards in to the jig sound it. One thing - if you could - would it be possible to have a picture of the holder without a reed in it ? so I can see the air hole slot ?
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