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Steve Schulteis

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About Steve Schulteis

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    Iowa, USA

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  1. What's your motivation for wanting to play in any key? What kind of musical background do you have?
  2. It looks like there's a pretty solid consensus that going as low as F2 will produce a large, unwieldy instrument without enough benefit to justify it. I definitely have a better appreciation for why the standard range is what it is. I'm still thinking about trying roughly the same range as Little John's Crane (going down to A2), although I would end up with a larger concertina than his since I don't want to use any Anglo buttons. My preference for the Eb's over the D#'s hasn't changed. The folk group I play with never seems to play any E major tunes. LJ's comment about D#'s in E mi
  3. That's the plan, assuming this idea survives the current phase of evaluation. For reeds I was considering trying the harmonikas.cz "DIX concertina original" reeds, which appear to be more concertina-like than the "DIX concertina" reeds that have been discussed here in the past.
  4. Thanks, Dana, that's exactly the kind of informed insight I was looking for. I could drop the F#2 and G#2 without feeling too bad. I like the idea of a fully chromatic instrument, but those two notes probably won't see enough use in my playing to justify a significantly larger instrument. It also sounds like if I go ahead with this I'll have plenty of room on the right to add a couple more high notes, which wouldn't be a bad thing. I'll have to think about how large a box I'm willing to live with, though. I don't suppose there's been much published about how to size reed chambers i
  5. I've been contemplating this layout for a bit, and I think it makes sense, but I'd like a gut check from some of you with more experience before I go much further. I do realize that choosing a non-standard route will have drawbacks, and I'm willing to live with that. My main focus for this instrument would be playing folk and hymn tunes with basic harmony. Here's the 51-button layout I'm proposing, using scientific pitch notation: Starting from the "standard" Stagi 46-button layout, here's what I've changed: Shifted every note down by a fifth. This also trad
  6. Apologies if this is too much thread drift, but I'm curious why you recommend the Crane over other duet systems for chromatic playing in the harmonic style.
  7. I came from penny whistle, so I was aware of the concertina from Irish trad music. I also noticed concertinas and other squeezeboxes making appearances in a lot of video games (and their soundtracks) around the time I took it up - I'm not sure how much that was a factor. Ultimately, I picked concertina because I liked the idea of a portable organ. Duet probably would have made more sense, but the extreme compactness of the anglo system called out to me. The larger number of modern makers, tutors, and players was also a consideration.
  8. One thing to watch for is whether that keypad will have key ghosting issues or not. I know that's common on full keyboards, and I assume it's the same for numeric keypads as well. Not an issue if you're only playing melody, but it could prevent certain chord patterns.
  9. A couple of questions for those of you using an X-Y mic setup like this: how far are you positioning the mics from your instrument? Are you using this setup in a live environment (particularly with other instruments), or just home/studio recording?
  10. I'm still in the speculative phase too, so I haven't tested what I'm about to describe. Listen to my suggestions at your own peril. I've been considering a pair of Audio Technica PRO 35's. Sound tech isn't an area I have a lot of expertise in, so maybe someone else can chime in with why that is or isn't a good mic choice. My plan for attaching them is to rig up a surface for the clips that can be fastened to the concertina by the strap bolts (probably just pieces of padded aluminum bar with bolt holes). That way I can have a quick, tool-free way to take everything off o
  11. Definitely musical saw at 0:40. Sounds like it switches to someone whistling around 1:06, and then back to the saw at 1:33.
  12. My Herrington had a couple of sticky buttons. It felt a bit like they were getting hung up on gunked-up felt bushings, but once the end plate was off they were still sticky. I ended up tracking the problem down, and since there isn't much info online about servicing Herrington's unusual action, I thought I would share the process I went through to fix it. Some of the button caps are very snug on their posts, so it might not be obvious that it's safe to just pull them off.
  13. In the US and UK, you automatically have copyright on anything you produce. No special action on your part is required. Rules may be different elsewhere.
  14. If the tunes were still under copyright, it's possible that the original composer transferred the copyright to a new owner (such as their children or some kind of trust). I think it's more likely that the contemporary musicians are only claiming copyright for their specific performances/recordings, and you're in the clear.
  15. Under US copyright law a new arrangement or recording would be a "derivative work", the new parts of which you would own the copyright for, but the owner of the copyright for the original work would retain all their rights. As a result, you would still need permission to distribute your complete derivative work, and anyone else that wanted to use it would need permission from both copyright holders. A derivative work (such as the piano arrangement Adrian mentioned) does not extend or otherwise affect the copyright of the original work in any way, but unfortunately if somebody wants to take you
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