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Posts posted by Sprunghub

  1. On advice from a successful Uk artisan, I used Columbia Organ's Leathers.  I bought the H, XH & Valve in their 12" x 6" approx panels.  The XH & Valve were most useful......you could utilise the H for pad facing.  It is excellent, they are very good to deal with.  There is enough leather in their panel's to do several instruments.  A concern that the 'panels'  might be lower quality "off-cuts" was not evidenced.  It just appears to be a sensible volume for non-pro's and smaller instruments. 


    It was for a Jeffries who were obviously innovators because they used straight lines!  to that end I used a Rotary cutter and ruler as opposed to worrying about long oval's with reducing width.



  2. As someone who only plays the Crane, it was this article that attracted me, as a non-musician who wanted to play some folky, simple "tunes" and sing a bit over the top.  It inspired me to get stuck in.....and in due course get a larger one to do exactly what I do on the 35k one ! albeit with many more missed notes and tangles of fingers. 


    Cranes make such good sense to a (still) non musician/beginner.




    Not sure why that doesn't link.....cut & paste does.... 

  3. Hi Stephen.....the Forum seems very quiet, so, as probably the least qualified person to offer advice, I'll plump for 39key(button) McCann Duet.  


    Sadly, of all the concertina family, this particular model seems to be one of the least loved of the 'old'/originals.  






  4. From days of vintage fishing tackle handling / Bakelite research, albeit via the more modern medium of I/net research.....   This 'mock' shell is possibly a form of bakelite given the age profile ?


    "To determine whether an item is tortoise shell or Bakelite, there is another noninvasive step that does not require the destruction of any materials. Since Bakelite is formed of formaldehyde, if you simply rub your fingertips over the surface of the questionable substance quite hard until it begins to feel very hot, if the substance is Bakelite, you should be able to smell the acrid odour of formaldehyde clearly on your fingertips."

  5. I would suggest 'yes'......armed with the "Tonal Energy" Tuning App on a mobile phone, something to shim beneath the reed with to support the tip and a good quality nail buffing 'kit' / tool, if no diamond/fine file is to hand. 


    For one pair of reeds and a minor tweak, if your hands are strong enough to clamp the end (to the bellows) and your thighs to hold the instrument for an 'up down' pull push on the one button you will not need to keep screwing it down which, I find is a bit of a pain.


    No doubt others will cringe at my recklessness !!? 

  6. Having just done a Presswood re-furb ( as a rank amateur ) and having previously used an encaustic tool with extruded reed wax, I can recommend a hybrid of the CGM paintbrush method with a very economical wax melter from Ebay if a camping stove isn't to hand.  The wax pot maintained (via a built in  thermostat ) a 'pre-smoke' heat for optimum flow with no nasty fuming.          





  7. That is a very pretty tuning rig, but a fairly ugly application.


    Ebay sells 'shim steel' you can get small sheets for no money which will create a very thin support for the reed which will slide almost down to the fixing point.  With the shim beneath it will elevate the reed tongue slightly, even for the belly/low filing.  It also allows you to 'fine' file the side of the reed at the filed point which may have some displaced steel  from the abrading which can snag the aperture.


    Filing the belly, to lower pitch - even supported - allows (causes ?)  the tongue to drop at the tip so I found an almost invariable need to tweak the tip out and reformat the curve to bring the up. 


    The other thing to weigh up is that if it is 5 - 10 high "in" the instrument......it will potentially be a different 'score' outside, ie. on the tuning jig, so there is an ongoing calculus for each reed of the difference "inside" and outside the 'Tina.  My finishing is done with the reed back in the 'box' with the end clamped under hand pressure, other end between the thigh's ie. without bolts in place just to assess the one note.  Personally I found the note 'deflection' inside and outside, to be pretty standard which meant that I could apply a standard differential.


    There are posts from people who know on how those differentials apply.  




    • Like 1
  8. 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)


  9. 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! 



    • Like 1
  10. 1 hour ago, Bill Crossland said:

    The seller would have received around £2400 after the auction took their bite, it would be far better to sell on Cnet!

    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.

  11. On 12/16/2019 at 8:58 PM, Bill Crossland said:

    The bidding reached £3400 on the Jeffries instrument before being passed

    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.  

  12. 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.  

  13. 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.

  14. 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....


  15. 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. 





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