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Posts posted by Sprunghub

  1. 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.



  2. I am resurrecting this thread in the light of a recently acquired instrument that has long been out of circulation.  It appears to be un-standard to the enth degree, even by the standard of there not being a "standard" !


    But, it is what it is, so we will come to terms with it.  I am not sure if the attachment will be good enough to read.


    A/E tuning ?  at 444hz currently.  The reed stamps indicate it is tuned as it was made.


  3. I have had the good fortune to come across a Jeffries bearing an internal mark for A. G. Pendrill.  It would appear there were a father and son,  Alfred senior, at 20 yrs was a cabinet maker, at 40, 50 and 60 years he was a "Concertina worker" in  London according to basic census data.  He may well have survived until 1930. 


    Alfred Jnr was a Concertina Tuners apprentice aged 18 ( Bn 1873 ) and a tuner at 28, but may have left the trade by early middle age to become a Tobacco and Confectionary retailer.  Indications are he may have survived as late as 1966, which would be a good age for both if correct. 


    It may be just a mark made during a 'service' rather than construction, but I wondered if the name was familiar to anyone re. Jeffries workers.  It is the only internal mark apart from '38' marked on (inside) bellows and action board, with 'L' & 'R' for the appropriate ends.  


  4. Thanks again for the above.....I seem to have fixed the problem.  The back story to the instrument is that it had a 'lot' of work, major work in some respects, realigning of levers, replaced posts etc done some time ago by a 'top' Uk restorer and although I stripped my little 35b box down to parts and rebuilt ends and re-tuned it from scratch (with assistance/advice from the Forum)  this thing makes my hands sweat/shake every time I have to take a screwdriver (actually a Feeler Gauge!) to it.


    As it happened, I had over-ordered on the pads for my 35b by a couple so I had one spare from Mark L-A sat in the cupboard.  For the smaller instrument it was a mm or so larger than those used on the 55b, 15mm as against 14mm ? but, as the other 29 pads on that end are 1mm or so smaller, there was adequate room for the 'one' larger one.


    It appeared that the pad was marginally 'off-centred', so I have replaced it with the slightly larger one and re-centred it and whilst not being too adventurous until the glue goes off, it now, pending a proper test, appears to be resolved.   


    I have re-pressed the bush as advised too and left a bit of graphite on there so fingers are crossed and will no doubt be again once I start trying to find my notes.

  5. Cheers Dave....I come to this song from singing it unaccompanied ( the Men They Couldn't Hang version ) which is a simplified ( according to my ear  ? ) tune to EB's original and your playing.  I then learnt to chord accompany 'strummed' on guitar and then fingerpick the chords.  I am new to the Concertina, wanting to sing and play Duet, preferably at the same time! so it is useful to find tunes/songs I recognise/understand as I don't need to be trying (too hard) to remember the words/tune as well as making fingers move in the right place/order.


    I have downloaded the 'free' intro version of Notation Composer and can see how that works via their pre-loaded examples....I have also downloaded Audacity and managed to convert a WAV file from my laptop into an MP4.  'My' laptop runs on 'old' Windows which they seem to suit.  I have a Tascam which records WAV files.  It's not recognising that as a readable file by Notation yet.... so it may not be a MIDI.  It will probably not like it anyway because it is a recording on the Duet of melody with chords behind/over as opposed to single notes.  Either way I will persevere.  

  6. The video is not showing for me from the pasted link ? "unavailable - duplicate of another You Tube video" ?  I am very taken with that dot/notation option as a non reader who creates a similar letter/note 'guide' for myself in a gibberish 'sentence' fashion, until I have it in my muscle/ear memory but without the appropriate dot's as background.  I don't think I have ever seen notation written out like that before ? I think combining the two as you have could help me learn to sight read!    


    (Is there a template/App for creating the PDF's or is it just a labour of love ?) 

    NB ......Just....found your previous, recent explanatory posts re the process....I will have to get one of the family who understands such things to have a look at that for me...  

  7. I have a problem with the most commonly used 'A' note on my Crane ( 2nd row right side)....on the pull it 'starts'/sounds/stops as it should......but on the push it closes somewhat 'lazily' and continues to sound whilst 'dying'.  


    The lever and pad seem fine.  I have replaced the spring in case it was weak.  I have not removed the reed tray to examine the 'inside' faces/reeds/valves pending advice. 


    It is a 55 button instrument and there are no other / similar issues on any other buttons.  Is there a likely 'obvious' cause ?  In general it gets 'lost' in the playing but it is irritating and if it fixable in the hands of someone with rudimentary fettling skills I would like to resolve it.





  8. Hi Dowright, I PM'd some time ago, but you may not have picked it up, I wonder if you might have any record of my two Crane/Lachenals, re. age, one is a 35b Triumph Model, mahogany ends, bone (ivorine ?) buttons, serial number 4062.

    My guesstimate is 1920's ?


    The other is a 55 button, raised ebonised ends, nickel buttons, marked as a Crane & Sons. ( Liverpool ) Made by Lachenal, the serial no. is '389.  No real idea of age, but "early"ish ?


  9. I doubt the pans on my Lachenal Crane had been out since 1920 something.  One of 'my finger' or the pan was going to give first.  Eventually it was the pan/s, and boy they let go with some vigour.  I was amazed at how much 'energy' was required to get them to budge.  If I had pulled in a gentle way like anyone would do I would still be pulling now !


    The bottom line seemed to be that the 'fulsome' napped chamois 'above' where the pan sat - and had sat for the best part of a century had to be overcome to get it moving.  That part where they rested was greatly compressed compared to that around the rim of the frame.


    The marvels of the original concept /design / materials.

  10. On 3/22/2007 at 2:10 PM, Greg Jowaisas said:

    OK. I followed the morning tea with a "big" cup of coffee and (of course) an english! muffin. Here's is what I found:


    1) 55key black duet for 1910

    4) 55key black duets for 1911

    ? 55key duets for 1912 (three of which were in sequence beginning (sic ending ?? )with #25654


    Now, what makes things vague is that the 1910 pricelist


    has 55b and 56b duet instruments listed!


    So I don't know if an air button was counted or even on some instruments which might be macaans or cranes. Bob Gaskins also has a diagram for a 55b Macann and says it is called a 56b in a 1930 pricelist:



    In the "that's interesting" column I noted a 2", 8 key mini; six! 81b duets; a "special Oates? phone #25559;

    and #25619 which has 84 keys and P.F. fingering.


    I'm out of coffee and need to practice.



    To add to the sum of all knowledge......25654, is a McCann....as it turns out.....rather than a Crane ? ( not connected with listing)





    Time brings all things to my mind....

  11. Yes David, that is along the lines of what I think I am looking for. 


    I see it mentioned in some peoples conversations about their playing and I 'thought' I understood what they were getting at, but wasn't entirely sure. .  I start off by finding the melody (by ear ) on the right hand, then - to some extent - forced ( or am forcing myself ) to work more with the left hand to play partial chords and octave notes ( even the right one/s occasionally !) with the melody.


    I am getting there, but it is a bit too "full" sometimes.  I am better at copying then adapting to suit than trying to understand some of the theory, so many thanks.

  12. I have used the Milliput on projects.  It is very easy to use - bi-coloured 'sausage' cut off a small length, incorporate outer and inner elements by working like Plasticene - for those who remember Plasticene - which most of us of the pre-Play-dough generation will.  


    Works in well, cleans up well and goes off hard. 


    For ultra strong fixes, including bridging, 'thick' Super-glue and Baking Powder is very good, but probably 'too' strong for a fix like that.  

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