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Everything posted by Sprunghub

  1. 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.
  2. 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.....
  3. 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?
  4. 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.
  5. 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....
  6. 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.
  7. 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 ?
  8. Thanks Alex.....I have some access to a metal worker.....but no kit/ability myself. I may be able to something similar with some heavy gauge acrylic. I can probably work that to create that profile. I think the principal in that wooden rig above is similar.
  9. Some design feature queries, if I may....... I have started constructing my Tuning Table. It wasn't going to be an actual table, but I had some spare timber and an idea as to how I might design it, so, a table - of sorts - it is. I bought a used set of accordion bellows and have routed end plates from 1/2" ply which, now it is fixed and taped/sealed is heavy enough to draw the bellows down. The table top has a working surface for soldering filing and a slightly larger than bellows sized aperture and the top plate is 1" oversized all around so that the bellows fits into the hole but the top plate sit's on the table. I now need to design the reed holder and 'air hole' and think this set up (image below) looks very "do-able" given my available kit. Are there any obvious weaknesses / problems with a simple holder (or holders for different sized reeds ) as per this design ? I would probably use slightly thinner wood for the blocks. Presumably there is no optimum air hole for bellows venting ? just enough to let the air out of the bellows on the push AND be able to be competently valved with 'something' as the bellow falls and pulls through the reed ?
  10. I am going to build a tuning rig to tune my Crane and hopefully use for any future projects. I have had a look around and have some idea of how to create something workable but I am uncertain as to the importance - if there is any - of the impact of the air restriction on individual reeds specifically during tuning that the chambers around the reed create in a working instrument? I can create internal and external chambers if needs be as part of the initial build but most of the examples I can see do not have any ? Presumably air restriction via the chambers in a working instrument impacts on the speed the reed 'talks' at and the vigour/length of note, which may be irrelevant for tuning purposes.....although getting it going without stalling or weakness may also be advantageous ?
  11. Another....http://www.concertina.co.uk/stock-selection/?concertina=2934
  12. I have it on my "To do" list on my small Crane. I propose to use modern "Vellum" craft paper from my wife's kit of Card making stuff and very easy to work with. It is stiff enough to hold it's own form, and although not actual vellum 'skin', is made from cotton and wood pulp (cellulose) so skin-like/translucent in it's appearance.
  13. My Auction House purchase Lachenal Crane 35k, now playing well. The original handle which was pretty shredded still bore the Triumph - Salvation Army - gold emboss. The serial number is "4062" from 1910'ish ?? It was fairly rough out of the box ( except there was no box!) and I am sure I overpaid, but they don't come up very often and I like a challenge. It came from a seaside town and the levers all showed that they were ferrous via the rust where the leather grommets had held moisture over the years. It had a missing handle and associated components and a fair chunk of end missing and the other side had all the necessary fractures in the fretwork for that to part company too before much longer. The bellows, fortunately were in pretty 'good' order. I rebuilt and reinforced the end and made a new handles with some 1800's mahogany left over form a Mandolin repair and cut some leather. Valves were cleaned. They weren't too bad considering the state of the lever ends. Following a re-pad and valve and a fettle it does what it is supposed to do very well for a learner and although I have to learn my (song) tunes by ear I haven't found one that I can't get to the notes for yet, despite the limited number of buttons. I have not re-tuned it yet but have tuned the flat reeds ( there were 5 ) up to 452 so she plays well in her original range. I don't envisage wanting, for now, to be playing with others and if I get good/confident enough I might look out for a 48k already tuned for the purpose. It sit's beside my wife's Clover.....broken end, pre-repair first. The repaired end is French polished, but not stained......it makes me look more competent because I know to pick it up leftie lighty ?
  14. Hi Frank - Firstly, re the pads, the originals in every element, by design and time are definitely 'thinner'. The Bristol card is marginally thinner, the felt, due to decades of compression is marginally thinner and the 'face' appears to be more akin to a chamois rather than a modern finished leather, softer, compresses more and therefore 'thinner' too. The thickness of the black 'dot' adds to the total - the original's are ultra thin. Everything is 'marginal' but the marginals add up and it is that I think I need to address. Re. button felts - on the existing buttons there is generally '1' felt ring - although I have found '2' on one and they are thicker - noticeably so - than the new ones I am fitting, so I don't think they are in play. Re. raise - I am not getting anything like as much 'lift' as I am with the old/original pads. The raise/lift on a couple of the pads is almost 'nominal' and the reeds are very slow to sound now, so I am pretty sure I am not getting much (enough) air in with the available button depression. I think it is more noticeable on the 'longer' levers......the C# and Bb are almost ok for height and pad rise. I am going to add an image to try to show the difference. The C, F, A, E, and a couple of the 'black' buttons have been 'done'. I have available - but have not fitted new springs - the existing springs seem 'ok'......I don't think new springs would have that much impact on things, although I appreciate they might apply marginally more pressure to the new pads to compress them but I am not sure it will overcome the 1.5mm +/- difference between current and 'new' buttons. It is probably worth mentioning that she was playing - within the limits of my ability ! and a few tuning issues - quite well, albeit with some re-glued original pads and re-glued pad faces, so I have an insight into her being 'worse' currently, than she was.
  15. After a little wait, I have all the necessary parts to start the pre-tune refurb of my small Lachenal Crane. I have done half a dozen pads thus far - all is going well enough but the new pads are lifting the levers via the pivot point, on the fixing post as the new pads are thicker. I am going to need to adjust the levers to raise the buttons and increase the pad lift when the buttons are depressed. I read somewhere once that there is a right way and a wrong way - or rather a right 'place' to effect the bend ? - I think it was the lever arm at a point between the post/staple and the button ? I have searched but can not find my way back to it......can someone confirm for me please.....
  16. Thanks to all for the advice....it looks, for the sake of minimising reed filing, as if I am going to have to take a crash course in tip soldering. I will make some practice reeds out of some shim material and see how it goes. Virtually all of my experience with soldering is 'bad'. I had a search on the Forum and found a 2015 thread re re-tuning an English and set the Tuner App to 452, Old Philharmonic ? and the greater majority of buttons in mid flow gave green 'smiley' faces, so that is where she currently seems to be set. It does beg the question, once pads and valves have been sorted, whether to leave her as she is and simply fine tune her to 452. I want to accompany a few songs with it rather than get involved with sessions etc. and reading around suggests that may be an option ? I'll see how the soldering goes....
  17. Hi Alex - thanks for that information.....firstly, yes, I am aware of the principal of not doing too much ( if anything ) until pads and valves have been done. I broke that rule re. that 'F' because it was so far out and annoying but I have held fire on the rest. Ultimately it is almost in ( a ) tune. Pads etc are imminent, hence me asking before messing anything up. I have 600g diamond needle files and a high quality ultra fine metal needle file ( and shim material ) from bike carb work and general fettling. I also have a good stock of crafters emery boards in varying grits for final polishing. I had pre-ordered a 600g 1/4" stick file so should have the basic tools. I have ( or rather the wife has ) downloaded the Tonalenergy Tuner onto her phone this pm. At the pre-set 440hz, those 90% of notes that are obviously sharp on the Snark tuner are all showing a miserable red face and around a fairly consistent 40 cents or so "sharp" on the TET, so I have 40 cents to come down, either by adding or taking away. Needless to say, I don't know how much 'grinding' is involved in coming down 40 cents ? It may be a couple of passes, it may be a lot ( or a few more ) ? It would be useful to know if anyone has that knowledge? I am guessing it is a fairly typical project to convert from A.N. Other standard historical tuning ? It is a Lachenal Salvation Army 'Triumph' instrument, 1910's / 20's I think, in origin, S/N 4062 ? The 2- part epoxy resin, for what it is worth, is not likely to come off the reed once cured unless cut/filed off. It would probably bond as well as solder, without the heat implications, albeit with marginally less weight by volume. It is also possible to shape it on/after placement and potentially bond wire or a small shim, which was a slightly left-field option to increase the weight centrally on the reed, but probably one best not admitted to among true artisans!
  18. All my previous postings have related to my wife's search for an instrument and subsequent selling thereof when it proved a bit too 'challenging' for a beginner. She is now the happy and improving owner of a modern Clover Anglo, so "off my case" so to speak. Immersed as I was in helping her find something 'nice', I have taken on a 'project' to fill my time. I am a fettler rather than a player at present, so have picked up a pretty rough Lachenal Crane 35b which I have rebuilt at one end, reinforced the other and made a new 'old' handle from some 1850's mahogany and done some very basic work to get it playable in lieu of a full valve and pad replacement which is in hand. I have cleaned the reeds and tuned the oddity of the high F which played F on the pull and E on the push - albeit the carrier was appropriately marked. Both now show correct in tune F on my 'better' Snark tuner. I am aware that all the reeds, within a degree or two on a tuner dial ( I don't understand "cents" ?) consistently show as being almost 2/3rds of a dial above the mid-point on the Snark, ie. 'sharp' over and above the desired note by about '7' snark degrees against the 'note' on the button. Presumably this is 'old' style tuning ? One or two are a 'notch' up or down on that and the very odd one is out of kilter altogether but most show as being pretty closely matched on the pull and push in the same range. I am now faced with the potential for re-tuning the reeds and understand that is done by either removal of metal from the 'belly' ? is that the correct term ? of the reed towards the fixing point ? or as seems less promoted, by adding weight at the tip. Low melt solder seems to be the done thing, although for fine tuning I have read of elements such as nail varnish being used. I am not keen to be working with heat and solder and I am guessing the level of change means nail varnish would be too light weight to make much odds. I have a few very basic questions to clarify re reducing / increasing the weight. Q1 re weighting the tippets of the reed blades. Albeit potentially heretical, so apologies in advance to the experts and purists! is there any reason in principal why cold-cast metal resin can not be used on the reeds in place of low melt solder to add weight to lower pitch and eliminate the need to scratch or file. I ask because of it's ease in working and prior experience of working with it. It is also relatively easily rescuable/reversible if needs be. Q2 If the above is a 'no-no' because of some engineering principal re the tippet etc, on "scratching" / gouging vs. diamond filing. Given the degree of lowering required for 90% of the reeds, how much scratch(ing) / filing is likely to be necessary to get the pitch reduction and given whatever that level of work is,.........is scratching ( to remove metal ) or filing to be preferred ? I do not like the look of 'scratching / gouging' to be honest, but am happy to be guided by those with experience. Q3 Re. the point at which to file ( or scratch ) on the reed, to lower the reeds by the implied amount, I have seen various terms applied to the correct point on the reed at which to work. Generally from/at around the mid-point of the reed, although some seem to suggest it should be done closer to the fixing point/clamp ......or is it a question of reducing it from the mid point towards the clamp rather than working at just one point? I have worked with metal resin on a number of projects and have some confidence in its ability to be worked and fettled/filed in much the same way as solder, hence my asking. I don't have a tuning box/rig, so it'll be have to be done in situe. Any advice much appreciated.....
  19. Now listed on Ebay, at a price reflecting the additional fee's a sale there would incur and for an offer at the top end, to incorporate Freepost Worldwide. Fully insured post to/in the Uk is nigh on £100 and to the States is £130 or so at the weight. The offer to Forum members at around the £1,500 remains, with postal options by negotiation and we are still happy to consider "offers on" if not too far 'off'.
  20. Did, rather than do, a 1952 TRW, upgraded (!?) from rigid at sometime before it came to me with a 'sprunghub' rear wheel. Given the improvement in rear end suspension 'weighed' - excuse the pun - against the weight of a sprunghub wheel, it was like carrying an anchor, which was apt as it was an ex R.N. bike.
  21. ....and per another, key/button lay out, as supplied by P.O..
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