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Isel

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Posts posted by Isel


  1. Hi @DougS. I actually do not use my thumb for playing yet. As you say, in Stagi Hayden it is ( for me) impossible without putting the entire hand into the strap. The combined strap system I am thinking about, besides the design of thumb and hand plates, could allow me to play at least a coup of bass notes in right side in a "drone" style as example.  In the left hand,  probably some utility for the thumb could be also encountered after practising. 


  2. Initially, the single bolts in both bloks have the only aim of allowing me to  move them easily, looking for their best location (I can move them in all directions, and fix them at the desired location). At final, I think both blocks should  be fixed (or not?...uhhhmm!).

    The thumb plate is parallel to the keyboard. But yesterday I incidentally discovered that swivelling the pinkie block to that angle does not constrain hand movement, but the curved design of the block allows an additional nice point of contact of the block with the base of the hand (if desired, by example: I think this additional contact could aid to control the instrument whiles playing stand up).

    I have noticed I only would need a 3 cm wide pinkie block .... the additional lengh of the block (up to 6 cm) had aestethic purpose...But placing it at an angle lead the entire lengh of the block to have an utility! (if desired, because whiles playing sitted my han would rest nearly exclusively on both thumb and the pinkie margin of the palm).

     

    And yes, both the thumb and hand straps are adjustable. The thumb strap adjust (a few mm margin to adjust is enough) can be done by placing a little rounded pin or hook in the righ side (even create them directly from the wood block....). This would, in addition, allow the right thumb strap clamp to swivel.

     

    8 hours ago, alex_holden said:

    Have you considered adding a right angle metal plate like in the English concertina thumb strap?

     

    Uhm..No Alex, I think that angle metal plate would be an obstacle to the thumb movements. This integrated thumb-hand strap system is nicely confortable to me, and seems to allow a lot of hand freedom with a lot of control at same time (the "black" bracket that links both straps is not only cosmetic)   ☺️


  3. 2 hours ago, wunks said:

    I do play with a loose strap

    In my prototype the hand strap also would remain loose enough to move the hand either up/down or swivelling. But in this context I have found a soft thumb loop would greatly improve the bellows control with scarce affection on hand freedom. Incidentally, I have discovered this system allows to loose the hand strap to the extend you want (well, within a secure margin, of course) because you can easily use the thumb to adjust the entire tension of the system, by spreading laterally the thumb.


  4. Very good example John!. And, indeed, Aaron Marcus slides his hand and also rotate it a litle bit to play two octave buttons simoultaneously (the index finger pressing the lower button). Apart from reaching outer buttons, my initial question was focused to allow the hand to swivell in both directions at some degree.

    At least for me, it is more challenging to try two octave buttons at time whith the index finger pressing the higher button... With the standard hand strap design, when I  try this fingering, my thumb finger does find an obstacle against the point where the strap clamps to the handrail, so I can not rotate my hand in enough degree to reach the desired finger positioning. The "integrated" hand-thumb strap proposal that I am experimenting with allows for this fingering and, due to my hand width,  my feeling is as I had my hand "in a glove".

    Recently @Łukasz Martynowicz showed me a video from  @tona , and he seems to have (at least in the right side) both hand and  thumb straps in his duet (the hand strap being clamped to the sides of the concertina, instead to the ends of the hand rail).


  5. Thank you very much for your detailed and very interesting reply Inventor!😊

    2 hours ago, inventor said:

    I would put the priority on adding the Key of Bb to the easy-peasy options. Certainly players of traditional dance music in New England  U.S.A. think so. This is the thinking behind both the Beaumont and Peacock. There might be different priorities in Spain ?

     

    This makes sense if I was focused to spanish folk, as tonalities that dominate (conditioned by the pipes in the north, and the "dulzaina" in central Spain) are mostly C, Bb and F. Even actually I don't play so much these, perhaps in the future I would do.

    2 hours ago, inventor said:

    I would add a high eb" to the right hand side. 

    Interestingly, I thought about  this key before the low Eb.   @David Barnert suggested that addition and I would find usefull to have this key instead D#.

     

    2 hours ago, inventor said:

    it is an absolute  minefield to get it to work.

    Re bisonoric: Do you refer to difficulties in order to properly include these keys whiles playing?


  6. 31 minutes ago, RAc said:

    So you have to look at your own playing habits very seriously, determining which reed you can do without at the least pain resp. which one makes sense for conversion to bisonoric playing. After that, pretty much everything is possible.

    I agree Rüdiger. Even more when the decission is in your hands and there are no plans to buy another instrument in the future.

    Thus, I am taking into account seriously all your suggestions. Thank you!!

     


  7. 😂

    More little wild horses Erik?

    I suppose this option admitt an amount of possibilities, each of them particularly suited to each player depending on his personal style, as you say.

    As I know, Litle John has satisfactory experience  with bisonoric buttons (my comments being originated in his experience!)


  8. 47 minutes ago, alex_holden said:

    bisonoric buttons on his Crane duets. In that case, you will almost certainly want an air button that is accessible

    38 minutes ago, alex_holden said:

     

    Ah, I think maybe you meant this topic:

     

    Exactly! This is the topic Alex! (I have modified the link, and I think It works properly now)

    ...And... in relation with bisonoric and air button...¡¡ touché Alex!! 😄


  9. Ha ha...I was just thinking about that question Brian.:D.. so this is my following comment:

    Brian, lately I am thinking about your ( and other valuable suggestions) proposals to add some buttons to a 46 key arrangement , that were explained in the interesting post Don Taylor opened in 2015 (  here ). I like your 50 keys suggestion. But, in relation with these ideas and following the context of " each inch is gold", I'd like to know your opinion with respect to the possibility of converting the low C keys in both sides to combined keys Bb/C (pull/push )


  10. Thank you Don!.

    Effectively, I am inclined to think in the same line as Jim an  Don point out.

    However , your call to patience is welcome Erik .

    Not myself  Don, instead I think Alex could do the job a little better...:D.

    I know jeffries's reed shoes are somewhat smaller than other (even than a short-scaled?? ). But if anyone different from you Erik had told me about 51 buttons in 6 1/4....I didn't consider credibleB)

    Could you please, Erik, ellaborate a little more about the role of air button when playing low F?


  11. Sorry because my question wasn't stated properly Don.

     

    The question is not to choose between several types of air buttons. Instead is a " to be or not to be" question :)

    As far as a I have read, there is an amount of concertinas lacking air button, air lever or whichever air releasing device. 

    Thinking about a 6 1/4 Hayden duet, where  packaging the keys you'd like to include could be more than tricky, I consider perhaps to install  an air button wouldn't be a priority.

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