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Steve Schulteis

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    Iowa, USA

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  1. I didn't find a US distributor that sells small quantities of presspahn, but the site I linked to has affordable shipping to my location. I went ahead and ordered some to see what it's like. I've also got a sample of 300 gsm cotton card on the way, so I can try Alex's lamination approach. Since I don't have the building or repair experience to evaluate each material on its own merits, I also ordered some samples of museum card as a sort of baseline. I won't be building a bellows out of each of these materials, but I'll report back here on their relative stiffness, weight, durability, and workability. If anyone has suggestions for how to test them (or other materials to add to the mix), I'm all ears.
  2. Thanks, Alex, I appreciate your specificity in sharing your formula. I don't have a nipping press yet, so I guess I'll add this to the list of justifications for eventually buying one.
  3. What's everyone making bellows cards out of these days? I've seen suggestions of cotton rag board or museum board, but everyone seems to agree that 2 ply is too thin/weak and 4 ply is too thick/bulky (although apparently both have been used successfully). I saw Dana Johnson was using a specific type of presentation board, but I haven't been able to track any down. If it makes any difference, my current plan is for a 7-inch octagonal duet.
  4. They are probably not referring to whether a pair of reeds share a single shoe/plate, but rather the number of reeds that sound at once when you press a single button. It is typical for accordions to have more than one reed play for each button in order to produce a richer/different sound. It is unusual for concertinas to have this feature, regardless of whether they are traditional or hybrid. The post for the previous sale that you linked to shows the reeds, and this is definitely a hybrid instrument. Nothing wrong with that, though. Don't get too hung up on hybrid versus traditional reeds. If you (and your audience) like the sound and response of your instrument, that's all that really matters. I agree with Bill N that this looks to be a nice instrument at a great price. Best of luck!
  5. Whoops, missed the original post's date - the pinned post I linked came later, so maybe it was inspired in part by this request.
  6. A list of currently available instructional material for all systems is already pinned in the Teaching and Learning forum:
  7. SOLD! Donation made to concertina.net. Thanks, everyone.
  8. I'm asking $1600 with free shipping to the continental US. This unusual Anglo was dubbed "The Herrington Hercules" by a previous owner. You can see its history and complete chain of prior owners in these threads (I bought it from JD Leedham): https://www.concertina.net/forums/index.php?/topic/19741-1999-herrington-30b-square-anglo-best-offer/ https://www.concertina.net/forums/index.php?/topic/18952-square-herrington-anglo-for-sale/ https://www.concertina.net/forums/index.php?/topic/13957-square-herrington-30-button-cg-hybrid-for-sale/ I've replaced the right hand C#/C# with a C#/D#, so it now has a completely standard Wheatstone layout. I'll include the original reed and even swap it out before sending the instrument if you'd prefer. This is a wonderful and unique concertina. I'm a bit sad to let it go, but I'm trying to fund a home-built Hayden duet, and my Anglo playing has mostly shifted over to my G/D Edgley.
  9. Such a thing was discussed recently. Pictures of catalogs and actual instruments were posted.
  10. What's your motivation for wanting to play in any key? What kind of musical background do you have?
  11. 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 minor tunes does have some pull with me - I'm a sucker for minor key tunes - but after a bit of fiddling around with a borrowed Elise (which required some imagination, since it doesn't have either Eb or D#) I think I'll be ok with the position of the Eb for those cases. I think I need to get my hands on a few reeds and experiment with things like scale length and chamber sizes to build a better understanding of the constraints I'm dealing with. To all of you who have offered your advice in this thread (and several others I've been digging through), thank you so much. Alex, your blog and instagram are a fantastic help as well. I sincerely appreciate everyone's willingness to take the time and share their hard-earned expertise.
  12. 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.
  13. 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 in concertinas? The volume difference is something I was expecting, although maybe not to the degree you've indicated. Since this instrument is intended to avoid much need for the melody to cross over to the left hand I had planned to fit the left side with baffles. My G/D Edgley actually has pretty quiet bass notes, so it seems like there must be some way to deal with this issue. Regarding Eb versus D#, I was just trying to distinguish between putting the note on the left side of the keyboard or the right. It seems like the convention for Hayden concertinas is to mark the notes on the left edge as flats and the ones on the right edge as sharps. If you don't have any duplicates, the side you choose for a particular note determines which scales and chords can be played with the standard patterns and which ones require jumps between the far edges of the keyboard. This is what I was getting at when I mentioned "favored" keys. I certainly intend for this instrument to be in equal temperament. Sorry for the confusion.
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