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schult

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About schult

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  1. On Android I have used VocalPitchMonitor and Intonia. I've found that they get me close enough when making penny whistles, but that's an instrument whose pitch varies quite a bit with how hard you blow, so the player is able to make up for (or cause) a few cents of inaccuracy. That's actually why I use those tuners - they let me play a scale or tune without looking at the tuner and subconsciously correcting, so I get a more realistic picture of how in tune the instrument itself is. But I couldn't tell you how precise the tuning is in cents.
  2. Info on repairing the buttons is available at https://www.concertina.net/gs_stagirepair.html and https://www.concertina.net/forums/index.php?/topic/13950-bastari-buttons-clean-up/ I've done this repair on a very similar instrument. I used bright yellow fuel line from Amazon, which seemed to work well enough.
  3. schult

    For sale - cheaper rochelle

    PM Sent.
  4. schult

    Concertina Bow Arm

    Thanks for the encouragement! The main reason I'm waiting is because I expect that sort of change to come with a temporary regression in my playing, and Christmas is the earliest that I'm sure I'll be willing to suffer that. I have tried it briefly, and I agree with the sentiment that it feels awkward compared to what I'm used to. But maybe the transition won't be as bad as I'm expecting...
  5. schult

    Concertina Bow Arm

    I play anglo concertina mostly in the harmonic style, I'm right-handed, and I currently anchor the right side of the instrument. This is what feels most natural to me, but I'm not sure it's best. I intend to put in the work to switch to anchoring the left side at some point (maybe at the end of the year after Christmas) and find out for myself. A lot of good reasons for preferring to anchor the left side have already been shared, and those factor in to my desire to make the change. But one that I don't think has been fully articulated is that in the harmonic style on anglo, the left hand generally makes fuller use of the buttons, and you have to stretch those fingers a lot more. This is because 1) very low notes see more use than very high notes, and 2) the left hand often hits multiple notes for a chord while the right hand mostly hits single notes for the melody. The left hand pinky gets a lot of use, so it can't be effectively used for stabilizing the free end of the instrument. The right hand pinky does get used, but it's much less frequent. Oom-pah patterns also tend to make the left side want to bounce up and down (but maybe I'm doing something else wrong). It's not that the left hand side has more complicated fingering patterns -- it doesn't -- but rather that the nature of its patterns make stabilization in mid-air more difficult. I'm not expecting this change to make some astounding improvement in my playing. But I figure people play music I like both ways, so it probably won't hurt. If it makes playing a little easier in the long run, then it's probably worth the trouble. It will be an interesting experiment in any case.
  6. schult

    Holden Blackbird

    Nice! I've really enjoyed your blog posts sharing your techniques and experiences building your instruments. And that fretwork design is fantastic.
  7. schult

    Three Piratey Tunes From Sea Of Thieves

    Here's the melody for Becalmed for 20-button anglo. I ended up putting it in the key of G, more because of my own confusion than for any good reason. I didn't give much thought to bellows direction as I picked buttons, so you'll probably want to make some changes as you figure out your harmony. If anyone has suggestions for free/cheap software for Mac or Linux that can produce similar notation in a nicer format without a lot of hassle, let me know. ____ Right Hand Push Pull -------------------------------------------------------------------------------- bar 1/2 1/4 1/8 1/16 dot tie 1/2-rest 1/4-rest 1/8-rest | o * ' " . - = z 7 -------------------------------------------------------------------------------- Left Hand _ _______ _________ ________ _ ___ _________ 1 2 1 1 1 2 1 1 1 1 2 2 2 1 2 -------------------------------------------------------------------------------- * | o * | o * | o ' ' | o * | * *. ' | o * | o.-o * | o * | o * | o * | o-' ' | -------------------------------------------------------------------------------- 3 5 5 5 5 5 4 5 3 5 ____ _ ___ _ _ ______ _______ 2 2 1 1 1 1 1 1 1 2 -------------------------------------------------------------------------------- o *| o *| o.-* z ' ' | o. | o-' ' | * o-o. | o. | o * | o.-o * | o * | o * | -------------------------------------------------------------------------------- 5 5 5 5 4 5 5 5 3 5 5 _____ ___ _ ___ ___ __________________ ___ 2 2 1 1 1 1 1 1 1 2 6 6 2 1 2 1 2 1 1 -------------------------------------------------------------------------------- o * | o-' ' | * * * | *. " " * | o.-o ' ' | * * * | * o-o.-o ' ' | ' ' * * | -------------------------------------------------------------------------------- 5 5 5 5 5 5 ____________ _____ ___ _ _ ______ 1 1 1 2 6 6 2 2 1 2 2 6 6 -------------------------------------------------------------------------------- * o-o. | o-' ' | * *. ' | *. " " * | o.-o * | o * | * *. ' | o.-o * | o * | -------------------------------------------------------------------------------- 4 3 3 3 5 5 5 5 5 _____ _ ___ _______ ___ ___ _______ ___ 7 5 7 6 6 6 1 2 2 2 1 1 2 1 1 -------------------------------------------------------------------------------- ' " " * * | o.-o ' ' | * * * | * o-o ' ' | ' ' * * | * o-o-' ' | o-' ' | -------------------------------------------------------------------------------- 5 5 5 5 4 3 3 5 5 _ ___ _ _ _______ _ _ ___ 1 1 1 6 1 1 2 1 1 1 1 2 1 1 -------------------------------------------------------------------------------- *. " " * | o.-o.-o. | o. | = 7 " " | o-' " " | * * * | o.-o-' " " | o-' " " | -------------------------------------------------------------------------------- 5 5 5 3 5 5 ___ _ _ _______ 1 1 2 1 1 -------------------------------------------------------------------------------- * * *-o.-o-' " " | o-' " " | * * * | o.-o.-o.-o. || -------------------------------------------------------------------------------- 5 3 5 5 3 5 5
  8. schult

    Three Piratey Tunes From Sea Of Thieves

    It looks to me like the melody for Becalmed will fit on the 20-button anglo if you transpose it up 3 semitones (from the version in the original post) so that there are no sharps or flats in the key signature. The harmony part won't fit on a 20-button, at least not together with the melody.
  9. schult

    Pirate Songs for Concertina - new book!

    I made my submission for the treasure hunt earlier, but regardless of the outcome, I have to say, "Thanks, Gary!" I really appreciate your willingness to share snippets of your books here on occasion. They've been a lot of fun, and it's what prompted me to pick up Christmas Concertina when I did. Thanks for sharing your hard work and know-how.
  10. schult

    Is The Concertina For Me?

    Angloconc is Gary Coover. Those are the recordings that go along with his books.
  11. I use the term "history" a little tongue-in-cheek, since this instrument is only 20 years old. But at the same time, there are still people living who knew Harold Herrington, and sometimes folks have strong opinions about things like this, no matter how insignificant it might seem to me. If leaving the instrument unchanged is important to someone that has an emotional attachment to it, I'm willing to take that into consideration as I weigh my options. Of course, this is also a reversible change, so I don't particularly expect to encounter anything like that. I'm in central Iowa, and I doubt I'll find any local concertina experts (feel free to prove me wrong). If I need to pay postage anyway I'll probably want the repairer to look into a few other things at the same time - a couple of slightly sticky buttons and a couple of reeds that are slower to speak than the others. Keeping that in mind, who would you recommend? I'm aware of The Button Box, but that's about the extent of my knowledge. This being a hybrid instrument, I've also come across the suggestion of going to someone who works on accordions (just for the reed replacement), which I could almost certainly find locally. Is that a good idea?
  12. I have a square-ended Herrington (this one) that has an extra C# on the right hand 1a draw. I've started to find that I miss the D# that normally occupies that position in the Wheatstone layout, and I don't really make use of the extra C#. As a result, I'm looking for advice on replacing that reed. Should I try to buy a single reed from somewhere and replace & tune it myself? Should I send the whole concertina to a professional? Should I leave history alone and trade for a different instrument?
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