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Posts posted by Isel

  1. I agree. As has been demonstrated, the quality control of Stagis seems to be weak. In addition, they do not show theirself as very fomal. IMO if a dealer assumes these rols seriously in Europe, all Stagi, the dealer and the future buyers will win....

    I have a Stagi Hayden since two years and half. I dont know if the action has any of the improvements that are mentioned, although the mechanics looks like very similar to that shown in pictures exhibited in C.net a few years ago. Yes, the bellows are a bit hard to act, and the keys are hard and make sticky noises, but even so the sound is very sweet, the tuning is perfect and the action response is as quick as the speed your fingers can reach (excepting the very bass keys ). Even respond well to triplets and rolls.

    ... .so I am happy as this instrument has opened to me the door of the concertina world. However, I hope not being in the door of imploding bellows period as Jody says....:blink:

  2. Hello!. Only to remember a lot of interesting opinions about the hayden slant were covered in the thread "Starting Out On Hayden Duet, Advice?".here

    Some questions are, however, still on the air, as example: after Rich Morse's convincing arguments in favour to slant, finnally the Beaumont Hayden has parallel...


    In other hand... Ron, the obscure temptation of choising a mirrored left layout (wicky  style)...is strong for me...(Master Joda...where are you right now!!!)😉


  3. Ops... I also found minor chords a bit more difficult to play than expected<_<. But I thought It would be because my lack of enough practice (in fact, the required finger disposition - after turning the hand - is quite the same as the Re maj chord in a guitar, as example, and this is a disposition I am well familiarized with )

  4. 2 hours ago, Little John said:

    I think the shorter button travel achieves the same effect as having a taller rest.

    Well pointed out John!... I am thinking about this in relation to the case of having raised ends...

  5.  My apologies for misspelling your name, little pinkie. Although some times you seem really pinky:rolleyes:

    Yes John, I do use my pinkies a lot, thus a non-confortable keyboard difficults playing some fast passages with my right hand. The height of the rest has influence as well ( I have things more clear at this concern).


  6. I am amused with this question since last months, because I am in the Alex Holden’s list for a new Hayden duet, thus I have to decide between slant or parallel design.

    I am taking into account:

    -         The opinion from duet players. Thank you Joy, David, Didie and other people for your opinions!.

    -         The comments of Bryan Hayden (there is another thread where this question is raised out)

    -         The comments of concertina makers (it seems the majority of new Wakker hayden orders ask for parallel design).

    -         My (limited) own experience with duets, as only have tryed my Stagy Hayden


    To be brief, my preliminar conclusions are:

    -       -  Probably slant benefits a better reaching of some keys, and perhaps some arrange of chords, but parallel could have similar effect with different keys/chords. My current feeling with the Stagi slant (even having different feaures that hayden does, finally it is a slant type) are: I can not reach the first buttons in the upper left row with my left pinky finger,  and I have to extend (probably more than would make a confortable playing) both my right ring and pinky fingers to reach the higher-pitch keys in the upper right rows.

    -       -  As I conclude, It is not a dramatic decission, because finnally you will have to fiddle with the limitations of one or another disposition.

    -      -   I think the preferences for one or another disposition would be highly a matter of personal taste, the size of hands (mine are small) and the type of music mostly played (I like different styles, but mainly like irish/scottish music).

    Thus, I thing it is necessary to try with both sistems to reach your own conclusion.😜
     I have builded two very basic end prototypes (left and right, with cardboard, plywood, litle silicon bars, etc) with same dimensions and same keyboard’s specifications as will be in the final instrument. In these prototypes I can locate the keybords and handrails in any position and/or slant I want . So I can get a very rough idea of what is my feeling with different dispositions of them.

    By the moment… parallel wins… but the game continues😊 .

    (a question I am thinking about is which disposition  would also benefit a more natural position of the hand (aligned whith the arm??), as (at least for me) when playing sited my arm doesn't form a right angle, but one slightly minor, so perhaps a slight slant could favor maintaining a more natural alignment hand/arm)

  7. On 12/27/2018 at 10:03 PM, David Barnert said:


    Before getting too invested in 1/6-comma mean tone, have a look at this, particularly, the 2nd full paragraph on page 3.

    This pudding is tastefull...though I get feeling as I'd try to square the circle (of fifhts) 😅

    I agree David, all advertisements are wellcome. For more information about 1/6 comma, I have found interesting (because it discusses the compromise of playing with other musicians and still they were happy with your pitch) this Duffin's text (bellow is the link to page 4; it is important to read, at least, the final paragraphs of page 3)



    Happy new year for all you!!


  8. Perhaps a somewhat selective finger memory?

    I use to experience something similar as you refer, when I learn difficult passages ( whatever the instrument) without the necessary patience, or so much fast.... the result is for these tunes I just " learn the mistakes". But trying the same difficult  passages in different tunes can result in a more clear performing...

    A few years ago a fidler told me: " to completely learn a song you have to forget it twice":rolleyes:

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